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Journal articles on the topic 'Joanna Baillie'

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Published: 4 June 2021

Last updated: 4 February 2022

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1

Henderson, Andrea. "Passion and Fashion in Joanna Baillie's “Introductory Discourse”." PMLA/Publications of the Modern Language Association of America 112, no. 2 (March 1997): 198–213. http://dx.doi.org/10.2307/463090.

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In the preface to her first volume of plays, the Romantic playwright Joanna Baillie claims that one is naturally driven to classify persons into character types, and she argues that this classification should be based on the passions individuals express rather than the fashions they wear. Despite this anticonsumerist stance, however, Baillie's project is shaped by the logic of late-eighteenth-century consumerism: Baillie conceives of passions as items susceptible to inventory, display, and sale. Her interest in establishing a human taxonomy grounded in ostensibly natural and subtle discriminations of character allies her works with other popular consumer goods of the period, from clothing fashions to studies of physiognomy. Moreover, like the aesthetic of the picturesque, Baillie's aesthetic encodes a peculiarly consumerist form of desire, a desire that can never be satisfied because it aims at acquisition rather than possession. In Baillie, the feelings and desires on which modern subjectivity is founded do not spring from deep within but are formed by, and find their meaning in, the public world of the marketplace.

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2

Bugajski, Ken A. "Joanna Baillie: An Annotated Bibliography." Romanticism on the Net, no. 12 (1998): 0. http://dx.doi.org/10.7202/005817ar.

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3

Myers, Victoria. "Joanna Baillie: Speculations on Legal Cruelty." Wordsworth Circle 35, no. 3 (June 2004): 123–27. http://dx.doi.org/10.1086/twc24044981.

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4

Slagle, Judith Bailey. "Joanna Baillie and Sir John Herschel." Wordsworth Circle 49, no. 2 (March 2018): 85–92. http://dx.doi.org/10.1086/twc49020085.

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5

Mellor, Anne K. "Joanna Baillie and the Counter-Public Sphere." Studies in Romanticism 33, no. 4 (1994): 559. http://dx.doi.org/10.2307/25601086.

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6

Friddle, Megan. "Joanna Baillie and theMonthly Mirror: A New Letter." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 21, no. 4 (September 2008): 36–39. http://dx.doi.org/10.3200/anqq.21.4.36-39.

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7

Carney, Sean. "The Passion of Joanna Baillie: Playwright as Martyr." Theatre Journal 52, no. 2 (2000): 227–52. http://dx.doi.org/10.1353/tj.2000.0038.

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8

Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama." Theatre Survey 38, no. 2 (November 1997): 49–88. http://dx.doi.org/10.1017/s0040557400002076.

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As the most critically lauded dramatist of her time, Joanna Baillie recently has received considerable attention from critics interested in arguing that our neglect of Romantic drama has arisen from “conventional and mistaken assumptions about its strategies and principles.” In a recent issue of Wordsworth Circle devoted exclusively to Romantic drama, Baillie figures in three of its seven articles as a central dramatist of the period, while Jeffrey Cox devotes an entire section of his introduction in Seven Gothic Dramas 1789—1825 (1992) to her work. Even more recently, she has been the subject of special sessions of recent Modern Language Association meetings, and an edition of her Selected Works is scheduled to be published by Pickering and Chatto Press in 1998.

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9

Wolfson, Susan J. "Further Letters of Joanna Baillie. Edited by Thomas McLean." Wordsworth Circle 41, no. 4 (September 2010): 252–54. http://dx.doi.org/10.1086/twc24043668.

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10

Myers, Victoria. "Joanna Baillie and the Emergence of Medico‐Legal Discourse." European Romantic Review 18, no. 3 (July 2007): 339–59. http://dx.doi.org/10.1080/10509580701443307.

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11

Whalen, Melissa M. "The Suffering Stage: Joanna Baillie, Spectacle, and Sympathetic Education." European Romantic Review 24, no. 6 (December 2013): 665–81. http://dx.doi.org/10.1080/10509585.2013.845981.

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12

Stafford, F. "Review: The Selected Poems of Joanna Baillie 1762-1851." Review of English Studies 52, no. 206 (May 1, 2001): 282–83. http://dx.doi.org/10.1093/res/52.206.282.

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13

Burroughs, Catherine. "Further Letters of Joanna Baillie ed. by Thomas McLean." Studies in Romanticism 51, no. 3 (2012): 449–52. http://dx.doi.org/10.1353/srm.2012.0019.

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14

McMillan, Dorothy. "Jennifer Breen's The Selected Poems of Joanna Baillie, 1762–1851." Romanticism 7, no. 2 (July 2001): 218–21. http://dx.doi.org/10.3366/rom.2001.7.2.218.

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15

Burroughs*, Catherine B. "The english romantic closet: Women theatre artists, Joanna Baillie, andBasil." Nineteenth-Century Contexts 19, no. 2 (January 1995): 125–49. http://dx.doi.org/10.1080/08905499508583419.

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16

Wolfson, Susan J. "The Collected Letters of Joanna Baillie. Edited by Judith Bailey Slagle." Wordsworth Circle 31, no. 4 (September 2000): 237–40. http://dx.doi.org/10.1086/twc24044832.

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17

Simmons, James R. "‘Small, Prim, and Quaker-like’: Reinventing Joanna Baillie as Jane Eyre." Brontë Society Transactions 21, no. 4 (January 1994): 149–51. http://dx.doi.org/10.1179/030977694796439269.

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18

Caballero, M. Soledad, and Aimee Knupsky. "“Some Powerful Rankling Passion”." Poetics Today 40, no. 3 (September 1, 2019): 475–98. http://dx.doi.org/10.1215/03335372-7558094.

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The article considers how Joanna Baillie’s concept of “sympathetick curiosity” informs contemporary discussions about emotion regulation. By focusing on Baillie’s De Monfort (1798) and Orra (1812), the article argues that regulatory flexibility is a learned skill that can be improved by actively engaging sympathetic curiosity. Baillie insisted that her plays had pedagogical value and that having audiences watch them would help them learn how to avoid the destructive nature of the passions. Working with Bonanno and Burton’s (2013) model of regulatory flexibility, the article demonstrates the importance not just of inherent differences in emotion regulation but also of learning opportunities individuals engage to develop it. In particular, the article presents a model of how people learn through narrative simulation, drawing on the work of Romantic writers and current critics as well as cognitive psychologists and neuropsychologists. Consideration is then given to how watching protagonists’ manifestations of and responses to an unfolding passion helps audiences learn to develop their regulatory flexibility.

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19

Purinton, Marjean D. "Science Fiction and Techno-Gothic Drama: Romantic Playwrights Joanna Baillie and Jane Scott." Romanticism on the Net, no. 21 (2001): 0. http://dx.doi.org/10.7202/005968ar.

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20

Hoeveler, Diane Long. "Joanna Baillie and the Gothic Body: Reading Extremities in Orra and De Monfort." Gothic Studies 3, no. 2 (August 2001): 117–33. http://dx.doi.org/10.7227/gs.3.2.2.

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21

Purinton, Marjean D., and Catherine B. Burroughs. "Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers." South Central Review 15, no. 3/4 (1998): 68. http://dx.doi.org/10.2307/3189842.

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22

de Almeida, Hermione, and Catherine B. Burroughs. "Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers." Tulsa Studies in Women's Literature 17, no. 2 (1998): 355. http://dx.doi.org/10.2307/464394.

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23

Harris, Colin, and Catherine B. Burroughs. "Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers." Studies in Romanticism 39, no. 3 (2000): 486. http://dx.doi.org/10.2307/25601463.

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24

Slagle, Judith Bailey. "Text and Context: Margaret Holford Hodson, Joanna Baillie, and the Wolfsteïn–Byron Controversy." European Romantic Review 15, no. 3 (September 2004): 425–47. http://dx.doi.org/10.1080/1050958042000240307.

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25

Slagle, Judith Bailey. "Literary Activism: James Montgomery, Joanna Baillie, and the Plight of Britain’s Chimney Sweeps." Studies in Romanticism 51, no. 1 (2012): 59–76. http://dx.doi.org/10.1353/srm.2012.0041.

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26

Brewer, William D., and Catherine B. Burroughs. "Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers." Albion: A Quarterly Journal Concerned with British Studies 30, no. 2 (1998): 323. http://dx.doi.org/10.2307/4053572.

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27

Williams, Teleri. "Closet stages: joanna baillie and the theatre theory of british romantic women writers." Women's Writing 7, no. 1 (March 1, 2000): 119–44. http://dx.doi.org/10.1080/09699080000200379.

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28

Slagle, Judith Bailey. "John Hunter and Joanna Baillie: Veterinary Science, Animal Rights, and the Pathology of Cruelty." European Romantic Review 22, no. 5 (October 2011): 625–39. http://dx.doi.org/10.1080/10509585.2011.601678.

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29

Saglia, Diego. "Review: Romantic Appropriations of History: The Legends of Joanna Baillie and Margaret Holford Hodson." Nineteenth-Century Literature 69, no. 1 (June 1, 2014): 129–32. http://dx.doi.org/10.1525/ncl.2014.69.1.129.

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30

Elliott, Nathan. "“Unball’d Sockets” and “The Mockery of Speech”: Diagnostic Anxiety and the Theater of Joanna Baillie." European Romantic Review 18, no. 1 (January 2007): 83–103. http://dx.doi.org/10.1080/10509580601179316.

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31

O'Quinn, Daniel. ": Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers . Catherine B. Burroughs." Nineteenth-Century Literature 53, no. 4 (March 1999): 530–33. http://dx.doi.org/10.1525/ncl.1999.53.4.01p0049j.

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32

Schatz, Sueann, and Marjean D. Purinton. "Romantic Ideology Unmasked: The Mentally Constructed Tyrannies in Dramas of William Wordsworth, Lord Byron, Percy Shelley, and Joanna Baillie." Rocky Mountain Review of Language and Literature 49, no. 2 (1995): 203. http://dx.doi.org/10.2307/1348001.

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33

Sechelski, Denise S., and Marjean D. Purinton. "Romantic Ideology Unmasked: The Mentally Constructed Tyrannies in Dramas of William Wordsworth, Lord Byron, Percy Shelley, and Joanna Baillie." South Central Review 15, no. 1 (1998): 55. http://dx.doi.org/10.2307/3189892.

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34

Hester, Jessica. "Female Playwrights and Eighteenth-Century Comedy: Negotiating Marriage on the London Stage, and: Joanna Baillie: A Literary Life (review)." Theatre Journal 56, no. 1 (2004): 141–43. http://dx.doi.org/10.1353/tj.2004.0021.

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35

Colón, Christine. "Thomas McLean (ed.), Further Letters of Joanna Baillie (Madison, NJ: Fairleigh Dickinson UP, 2010), pp. 296. $59.50 hardback. 9780838 641491." Romanticism 18, no. 1 (April 2012): 118–20. http://dx.doi.org/10.3366/rom.2012.0071.

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36

Moore, P. G. "Dr Baird and his feminine eponyms; biographical considerations and ostracod nomenclature." Archives of Natural History 32, no. 1 (April 2005): 92–105. http://dx.doi.org/10.3366/anh.2005.32.1.92.

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An attempt is made to identify the female personalities behind the specific attributions of four of William Baird's Scottish ostracod species: viz. Philomedes brenda (Baird, 1850), Macrocypris minna (Baird, 1850), Cylindroleberis mariae (Baird, 1850) and Cypris joanna Baird, 1835. A Scottish borderer by birth, although he spent most of his career in the British Museum (Natural History), Baird (1803–1872) was co-responsible, with two older brothers, plus George Johnston (the Club's first President) and five other gentlemen, for establishing the Berwickshire Naturalists' Club in 1831. This is generally regarded as the first society of its kind. In common with most of his contemporaries, it seems that he held Sir Walter Scott's romantic works in high regard. Brenda and Minna are Shetland heroines from Scott's novel The pirate, which would tie in with these species' type localities being in the wild waters offshore from that archipelago. The suggestion is advanced that the other two names honour two ladies of high literary repute, who were also prominent associates of Walter Scott: Joanna Baillie and Maria Edgeworth (though it is possible though that the epithet mariae might also acknowledge Baird's wife, Mary). Both these writers, of plays, poetry and novels (respectively) were radical proto-feminists who espoused social reform. As such their views and reputation may have resonated with William Baird. His brother, the Revd John Baird of Kirk Yetholm, became famous for espousing the rights of gypsies. William Baird's biography is considered in the context of his social contacts in the Scottish borders. Various associations between these ladies, Sir Walter Scott, the Baird family and the type localities of these ostracods are brought forwards in support of these contentions.

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37

Graham, Lesley. "Further Letters of Joanna Baillie. Edited by Thomas McLean. Pp. 296. ISBN: 9780838641491. Madison, Teaneck: Fairleigh Dickinson University Press, 2010. £60.50." Scottish Historical Review 92, no. 2 (October 2013): 310–11. http://dx.doi.org/10.3366/shr.2013.0192.

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38

Dowd, Maureen A. "Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers, and: Romantic Theatricality: Gender, Poetry, and Spectatorship (review)." Theatre Journal 50, no. 1 (1998): 134–36. http://dx.doi.org/10.1353/tj.1998.0003.

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39

Saglia, Diego. "The Moor's Last Sight : Spanish-Moorish exoticism and the gender of history in British Romantic poetry." Journal of English Studies 3 (May 29, 2002): 193. http://dx.doi.org/10.18172/jes.77.

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Legends and tales of Islamic Granada were among the most frequently re-elaborated exotic subjects in British Romantic literature. A popular theme in the early decades of the nineteenth century, Spanish Orientalism attracted both famous writers such as Lord Byron, Joanna Baillie, Washington Irving, Felicia Hemans or Letitia Landon, and less familiar ones such as Lord Porchester, George Moir and Lady Dacre. This essay concentrates on one component of the myth of Granada which enjoyed great diffusion in Romantic-period literature, the tale of the Moor's Last Sigh and the tears shed by the last Muslim monarch on leaving his capital forever after the Christian conquest in 1492. The aim is to illustrate how, in migrating from its original context, this tale comes to signify and emblematize issues of gender and notions of history as progress specific to British culture. The poetic texts examined here employ the Spanish-Orientalist myth to elaborate ideas of masculinity and femininity, as well as reflections on power and its extinction, the fall of empires and the emergence of new states. Thus King Boabdil's tears were exotically popular also because they were removed from their original meaning and import, and refashioned into vehicles for ideological concerns proper to British Romantic-period culture

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40

Hoeveler, Diane Long. "Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers. Catherine B. Burroughs.The Bright Work Grows: Women Writers of the Romantic Age. Jonathan Wordsworth." Wordsworth Circle 28, no. 4 (September 1997): 259–60. http://dx.doi.org/10.1086/twc24044740.

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41

Scullion, Adrienne. "Catherine B. Burroughs Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women WritersPhiladelphia: University of Pennsylvania Press, 1997. £37.95. ISBN 0-812-23393-X." New Theatre Quarterly 14, no. 55 (August 1998): 295–96. http://dx.doi.org/10.1017/s0266464x00012331.

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42

Tidrow, Thierry. "Joanna Bailie - Joanna Bailie, Artificial Environments. Plus Minus. NMC, NMC D252." Tempo 74, no. 292 (March 6, 2020): 95–96. http://dx.doi.org/10.1017/s0040298219001384.

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43

Brewer, William D. "Catherine B. Burroughs. Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers. Philadelphia: University of Pennsylvania Press. 1997. Pp. xii, 238. $39.95. ISBN 0-8122-3393-X." Albion 30, no. 2 (1998): 323–24. http://dx.doi.org/10.1017/s0095139000060543.

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44

Garbin, Lidia. "Catherine B. Burroughs, Closet Stages. Joanna Baillie and the Theater Theory of British Romantic Women Writers (Philadelphia: University of Pennsylvania Press, 1997), pp. xii + 238. $39.95 hardback. 0 8122 3393 X." Romanticism 5, no. 2 (July 1999): 267–68. http://dx.doi.org/10.3366/rom.1999.5.2.267.

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45

Power, Stephanie. "JOANNA BAILIE: STRANGE PARALLEL MUSIC." Tempo 68, no. 269 (June 16, 2014): 20–29. http://dx.doi.org/10.1017/s0040298214000035.

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AbstractComposer and sonic artist Joanna Bailie has described her creative journey to date as a series of ‘not entirely reconcilable’ stages. This article introduces her work through a broadly chronological survey, tracing her career and offering a detailed consideration of her recent and current musico-aesthetic concerns. It will become evident that paradox and the juxtaposition of ‘not entirely reconcilable’ elements are, as it happens, key positive components of Bailie's art on many levels. Moreover, it will be seen that her work posits a conscious and highly personal response to certain perceived crises regarding ‘contemporary classical music’, a term which Bailie herself detests. Particular reference is made to Bailie's ongoing series of concert pieces combining acoustic instruments with field recordings, Artificial Environments, and a series of site-specific audio-visual installations, the place that you can see and hear.

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46

ALEKSIUK, NATASHA. "JOANNA BAILLIE'S ‘THUNDER’ IN 1790 AND 1840." Notes and Queries 48, no. 2 (June 1, 2001): 132–36. http://dx.doi.org/10.1093/nq/48-2-132.

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47

ALEKSIUK, NATASHA. "JOANNA BAILLIE'S ‘THUNDER’ IN 1790 AND 1840." Notes and Queries 48, no. 2 (2001): 132–36. http://dx.doi.org/10.1093/nq/48.2.132.

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48

Murray, Julie. "At the Surface of Romantic Interiority: Joanna Baillie’s Orra." Articles, no. 56 (March 8, 2011): 0. http://dx.doi.org/10.7202/1001091ar.

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This essay examines Joanna Baillie’s 1812 play, Orra, in order to interrogate the longstanding opposition between personification and romantic interiority. Since Wordsworth, the personified abstraction has been considered anathema to romantic conceptions of passionate or lyrical interiority. Drawing on recent critical discussions of the close relationship between passion, personification, and personhood, I suggest that Baillie’s play represents deep interiority via the most un-Wordsworthian figure imaginable: personified passion. In so doing, she employs a seemingly archaic, extravagant figure in order to stage the deep, unknowable interiors which are the ostensible hallmark of the modern individual.

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49

Purinton, Marjean. "Socialized and Medicalized Hysteria in Joanna Baillie's Witchcraft." Essays in Romanticism 9, no. 1 (January 2001): 139–56. http://dx.doi.org/10.3828/eir.9.1.8.

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50

Murray, Julie. "Governing Economic Man: Joanna Baillie's Theatre of Utility." ELH 70, no. 4 (2003): 1043–65. http://dx.doi.org/10.1353/elh.2004.0008.

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