Relevant bibliographies by topics / Poetry of Christina Rossetti

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Poetry of Christina Rossetti'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Poetry of Christina Rossetti"

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Powers, Janet M. "Christina Rossetti: poetry, ecology, faith." Religion 50, no. 3 (December 12, 2019): 457–60. http://dx.doi.org/10.1080/0048721x.2019.1695176.

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Arseneau, Mary, and Emery Terrell. "“Our Self-Undoing”: Christina Rossetti’s Literary and Somatic Expressions of Graves’ Disease." Humanities 8, no. 1 (March 21, 2019): 57. http://dx.doi.org/10.3390/h8010057.

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Victorian poet Christina Rossetti (1830–1894) was frequently troubled by poor health, and her mid-life episode of life-threatening illness (1870–1872) when she suffered from Graves’ disease provides an illuminating case study of the ways that illness can be reflected in poetry and prose. Rossetti, her family, and her doctors understood Graves’ disease as a heart condition; however, Rossetti’s writing reflects a different paradigm, presenting themes of self-attack and a divided self that uncannily parallel the modern understanding of Graves’ disease as autoimmune in nature. Interestingly, these creative representations reflect an understanding of this disease process that Rossetti family documents and the history of Victorian medicine demonstrate Rossetti could not have been aware of. When the crisis had passed, Rossetti’s writing began to include new rhetoric and imagery of self-acceptance and of suffering as a means of spiritual improvement. This essay explores the parallels between literary and somatic metaphors: Rossetti’s body and art are often simultaneously “saying” the same thing, the physical symptoms expressing somatically the same dynamic that is expressed in metaphor and narrative in Rossetti’s creative writing. Such a well-documented case history raises questions about how writing may be shaped by paradigms of illness that are not accessible to the conscious mind.
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Leavy, Barbara Fass, and Dolores Rosenblum. "Christina Rossetti: The Poetry of Endurance." South Central Review 5, no. 4 (1988): 87. http://dx.doi.org/10.2307/3189060.

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Flowers, Betty S., and Dolores Rosenblum. "Christina Rossetti: The Poetry of Endurance." Tulsa Studies in Women's Literature 6, no. 2 (1987): 358. http://dx.doi.org/10.2307/464289.

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Johnson, Stephanie L. "CHRISTINA ROSSETTI'S GHOSTS, SOUL-SLEEP, AND VICTORIAN DEATH CULTURE." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 381–402. http://dx.doi.org/10.1017/s1060150318000062.

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Ghosts haunt Christina Rossetti's poetry. Amidst the lyrics, devotional poems, and children's verse, poems about ghosts and hauntings recur as material evidence of Rossetti's fascination with spectral presences. That fascination poses a particular interpretive puzzle in light of her religious convictions and piety. We might be tempted to identify the recurring ghosts as just another nineteenth-century flirtation with spiritualism – the spiritualism by which her brothers William and Gabriel were intrigued, attending séances and testing the validity of communications from the dead. Rossetti, however, clearly dismissed spiritualism as false belief and a means to sin. We might also be tempted to divide Rossetti's poetry into the secular and the sacred and to categorize the ghost poems as the former, yet much recent criticism on Rossetti has argued successfully for the pervasiveness of her religious voice even in works that seem not to be religious. Finally, in seeking to hear a religious resonance, we might be tempted to interpret her ghosts as representative of the Holy Ghost, yet that interpretation could only be asserted at the expense of the poems themselves; as narrative poems, most of them involve ghosts of dead lovers, desired by the living for themselves – not as experiences of God's presence. Rossetti's use of ghosts within short narrative or dialogic poems of the late 1850s and 60s concerning human desire for lost love invites closer inspection, especially when such poems overtly treat her religious beliefs.
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Crisp, Shelley J., and Katherine Mayberry. "Christina Rossetti and the Poetry of Discovery." South Atlantic Review 56, no. 1 (January 1991): 122. http://dx.doi.org/10.2307/3200159.

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Ward, Frankie. "Emma Mason, Christina Rossetti: Poetry, Ecology, Faith." Theology 122, no. 4 (June 25, 2019): 294–96. http://dx.doi.org/10.1177/0040571x19843769.

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Avery, Simon. "PIETY, POETRY, PASSION: CONTEXTS FOR CHRISTINA ROSSETTI." History Workshop Journal 40, no. 1 (1995): 244–45. http://dx.doi.org/10.1093/hwj/40.1.244.

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Van Remoortel, Marianne. "CHRISTINA ROSSETTI AND THE ECONOMICS OF PUBLICATION: MACMILLAN'S MAGAZINE, “A BIRTHDAY,” AND BEYOND." Victorian Literature and Culture 41, no. 4 (October 25, 2013): 711–26. http://dx.doi.org/10.1017/s1060150313000181.

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Impelled to seek relief from a “peccant chest” (L233) at the seaside, Christina Rossetti travelled to Hastings in December 1864, taking a carefully wrapped bundle of unfinished manuscript poetry with her. Throughout the winter until the following March, a series of letters to Cheyne Walk kept her brother Dante Gabriel abreast not only of her gradual recovery, but also of her efforts to complete her second book of poetry, two years after she had made a successful debut with Goblin Market. Shortly after her arrival, Rossetti reported that she was struggling to finish “The Prince's Progress,” the long narrative poem that was to lend its title to the new volume: [M]y Alchemist still shivers in the blank of mere possibility: but I have so far overcome my feelings and disregarded my nerves as to unloose the Prince, so that string wrapping paper may no longer bar his “progress.” Also I have computed pages of the altogether-unexceptionable, and find that they exceed 120: this cheers though not inebriates. Amongst your ousted I recognize sundry of my own favourites, which perhaps I may adroitly re-insert when publishing day comes round. . . . Meanwhile I have sent 3 (I hope) pot-boilers to Mac's Mag. (L233) In the past few decades, Rossetti's lifelong effort to see what critics have variously called “the divine spiritual essence of material beauty” (Harrison 56), the “moral and spiritual significance in physical signs” (Arseneau 279), and “the spiritual in the sensuous, the numinous in the material” (Kooistra, Illustration 38) has become a mainstay of Rossetti scholarship. This excerpt from her correspondence, in contrast, reveals her equally profound preoccupation with the materiality and economics of writing. Issues of textual ownership, authorial control, and literary marketability confronted Rossetti in the 1860s as her financial situation forced her to balance book publication with regular contributions to the periodical press, notably Macmillan's Magazine, the magazine owned by Rossetti's publisher Macmillan and Co., which carried more of her poetry than any other British periodical in the nineteenth century. These issues extended beyond Rossetti's personal dealings with Macmillan, however, shaping the material and interpretive consumption of her work throughout her career. This arc may be seen in the publication and adaptation history of one of her most popular poems, “A Birthday,” from its first appearance in Macmillan's Magazine in 1861 until her death. Over time, the poem underwent various types of mediation: reprints in gift books and poetry anthologies, musical adaptation, vocal performance, and quotations in fictional works. Finally, her reaction to the three parodies of her poems published in an 1888 comic magazine – particularly to “An Unexpected Pleasure,” the parody of “A Birthday” – demonstrate her perspective on the increased commodity value of the original poem.
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Chatterjee, Ronjaunee. "PRECARIOUS LIVES: CHRISTINA ROSSETTI AND THE FORM OF LIKENESS." Victorian Literature and Culture 45, no. 4 (November 8, 2017): 745–62. http://dx.doi.org/10.1017/s1060150317000195.

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In its anonymous reviewof Christina Rossetti'sSpeaking Likenesses(1874), theAcademynotes rather hopelessly: “this will probably be one of the most popular children's books this winter. We wish we could understand it” (606). The reviewer – who later dwells on the “uncomfortable feeling” generated by this children's tale and its accompanying images – still counts as the most generous among the largely puzzled and horrified readership of Rossetti's story about three sets of girls experiencing violence and failure in their respective fantasy worlds (606). While clearly such dystopic plots are not out of place in Victorian literature about children, something about Rossetti's unusual narrative bothered her contemporaries. John Ruskin, for instance, bluntly wondered how Rossetti and Arthur Hughes, who illustrated the story, together could “sink so low” (qtd. in Auerbach and Knoepflmacher 318). In any case, the book still sold on the Christmas market, and a few months later, Rossetti would publishAnnus Domini, a benign pocketbook of daily prayers that stands in stark contrast to the grim prose ofSpeaking Likenesses.It is therefore tempting to cast this work of children's fiction as a strange anomaly in Rossetti's oeuvre, which from the 1870s, beginning withAnnus Domini, to her death in 1894, became almost exclusively dominated by devotional prose and poetry. In contrast, I argue in the following essay thatSpeaking Likenessespoints to a widespread interest throughout Rossetti's writing – but especially in her most well-known poems fromGoblin Market and Other Poems(1862) andA Prince's Progress(1866) – in alternative modes of sociality that refract a conceptual preoccupation with likeness, rather than difference. Following traditions of critical thought that have paid increasing attention to relations that resist oppositional logic – Stephanie Engelstein and Eve Kosovsky Sedgwick's late work comes to mind here – I establish the primacy of a horizontal axis of similarity in bothSpeaking Likenessesand Rossetti's most canonical poem, “Goblin Market.” For Rossetti, the lure of similarity, or minimal difference, manifests itself most often in siblinghood and more specifically, sisterhood, the dominant kinship relation throughout her lyrics fromGoblin Market and Other Poems. Sisterhood anchors the title poem I will examine in this essay, as well as shorter verses such as “Noble Sisters” and “Sister Maude.” At issue in such relations of likeness is the discreteness of a (typically) feminine self. For Rossetti, shunning oppositional structures of desire and difference that typically produce individuation (exemplified in the heterosexual couple form and the titles of her uneasy lyrics “He and She” and “Wife to Husband”) allows for a new (albeit perilous) space to carve out one's particularity as a gendered being.
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Dissertations / Theses on the topic "Poetry of Christina Rossetti"

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Hullah, Paul. "The poetry of Christina Rossetti." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/19858.

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Twentieth century critical work on Christina Georgina Rossetti (1830-94) is sparse. Short discussions of her poetry have appeared intermittently in journals such as Victorian Poetry, or as chapters or parts of chapters in books such as Sir Maurice Bowra's The Romantic Imagination (1949) and Professor W.W. Robson's Critical Essays (1966). Only with the recent publication of David A. Kent's edition The Achievement of Christina Rossetti (1987) and Antony H. Harrison's Christina Rossetti in Context (1988), has sustained, critical (as opposed to biographically determined) study of this poet's work been offered. This thesis seeks to isolate thematic elements in the works of Christina Rossetti by offering close, detailed textual readings of the poems. Past commentators have rightly recognised and applauded the rhythmic and metrical craftsmanship displayed in her lyric verse, but this monopoly of attention afforded to the formal felicities of the poetry has been at the expense of adequate interpretation of its content. This study aims to show that Rossetti's rigorously controlled use of language and symbolism indicates that there are important levels of meaning implicit in the poetry other than that produced by the biographical decoding which many critics have hitherto favoured. This thesis proposes that, from her earliest 'secular' lyrics - which, in fact, display a sustained interaction between inherited modes of Romantic and Tractarian thought - through longer pieces such as Goblin Market (1862) and The Prince's Progress (1866), Rossetti's verse continually resists complacency of interpretation, subtly questioning and subverting the traditions of writing - lyric, fairy tale, and quest myth - it simultaneously extends. Gradually and persuasively constructing a case for the inability of poetic tradition to cope with the expression of an active, female identity, Monna Innominata (1881) deconstructs the poetics of lyric tradition, casting together mediaeval, renaissance and Victorian ideologies.
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Smulders, S. G. M. "Christina Rossetti : Response and responsibility summary." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383528.

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Wallner, Lars. "The Forgotten Gothic of Christina Rossetti." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-73141.

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In this essay, the author analyzes the Gothic of Christina Rossetti in such poems as A Coast Nightmare, Shut Out, but also the well-known Goblin Market and the Prince's Progress. Interested in what the imagery of these poems convey, and intent on declaring Rossetti as a prominent example of Gothic poets, the author makes a strong case for the including of Rossetti among the great Gothics.
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Roe, Dinah. "Letter and spirit : the devotional poetry and prose of Christina Rossetti." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407195.

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Humphries, Simon Neil. "The fiery antidote : an oppositional reading of Christina Rossetti and Gerard hopkins." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270533.

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Yeo, Wei Wei. "The presence of Dante in the work of Dante Gabriel and Christina Rossetti." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251733.

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Young, Margaret Louise. "Stranger and pilgrim : devotion and asceticism in the poetry of Christina Rossetti." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343686.

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Shcherbino, Ksenia. "'In the blank of mere possibility' : liminal transformations in the poetry of Christina Rossetti." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q15yq/-in-the-blank-of-mere-possibility-liminal-transformations-in-the-poetry-of-christina-rossetti.

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This thesis offers a new reading of Christina Rossetti’s poetic texts which situates them within the context of liminality. I define liminality here as a site of ambiguity, change and unfulfilment between two states, whilst emphasising its potential for transformation and transgression. I examine multiple narratives – personal and communal, linear and cyclical, spatial and temporal – which emerge from Rossetti’s complex texts, and highlight two major approaches used: layering and silencing. The range of works I analyse includes both famous and lesser known poems, secular and spiritual writing, from “Winter: My Secret” (1857) and “Goblin Market” (1859) to “The Iniquity of the Fathers Upon the Children” (1865) and ““Resurgam” (1883). With this wide range, I demonstrate that similar approaches are used throughout Rossetti’s writing from her earliest poems to her later work. I begin the thesis with a focus on the fragmentation of the poetic self into observer and observed and examine the power acquired by the speakers/protagonists through the distance and seclusion of the liminal space. This enables the liminal space to shape a new identity for the speakers/protagonists. In Rossetti’s poetry, the liminal personae become defined by the space they inhabit, or are trapped in, on visual, physical, psychological and sound levels. This positioning helps them to acquire (or re-gain) personal history, memory and a voice. I proceed to explore the conflict between the seen and the unseen, revelation and illusion, in Rossetti’s work, paralleling this with photographic experiments by Lady Hawarden. This enables me to trace the use of the threshold in both poetic and visual languages. Rossetti’s speakers are unable to cross this threshold yet they still struggle to gain control over the outside world. From visual explorations I move on to consideration of sound and suggest that rhythm and rhyme function in the same way as Rossetti’s use of tropes of sight/deprivation of sight. Rossetti introduces rhythmical lapses and repetitive constructions as a means of controlling and shaping reality. Sound repetition subverts our expectations, while sound disruptions create negative spaces which serve as markers of the apocalyptic and the threshold. This idea of negative space is closely linked to the ideas of absence and unfulfilment and is pivotal in understanding Rossetti’s poetry. I argue that Rossetti’s theology is based on negation and that this is extended to her secular poems as well. Christina Rossetti’s poems are characterised by oppositions of absence and exuberant presence on all textual levels. In the final part of my thesis, I examine the transformation of the speaker’s/narrator’s self. I read the ideas of unfulfilment against the self-recognition of the speakers and show their inner splits and subsequent alienation. In this way, unnaming and silencing work as ways of defining the boundaries of the self through negation.
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Enjoubault, Mélody. "Écriture de la spécularité dans l’oeuvre poétique de Christina Rossetti." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040157.

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Le but de ce travail, consacré à la poésie de Christina Rossetti, est de s’éloigner du prisme interprétatif biographique qui est devenu la norme depuis sa mort en 1894. Cette étude, qui repose sur un examen des choix prosodiques et formels, montre que la voix poétique est avant tout une construction. Identifier le miroir à l’intérieur du texte dévoile des éléments essentiels pour comprendre la relation complexe qui se joue entre identité et altérité et qui, à maints égards, définit le style de Rossetti. L’étude des voix qui se font entendre dans son oeuvre poétique, qu’elles soient intertextuelles ou fictionnelles, révèle comment Rossetti parvient, par un usage unique de la répétition, à créer une voix harmonieuse et intemporelle à partir de la diversité et de la contradiction. Mais malgré une première impression de régularité, le principe répétitif est une source de redéfinition permanente qui nie la notion d’origine ou de version définitive. La re-présentation, la différance, et les réécritures incessantes offrent au lecteur un texte qui lui échappe sans cesse. Ce refus de la finitude pointe vers une autre ambition, celle d’atteindre un au-delà non plus religieux — nombre de ses poèmes expriment le désir de ne faire qu’un avec le divin — mais poétique : à travers la relation intime entre Dieu, le poète, et le texte ; par la manipulation de la forme, que le traitement du sonnet illustre ; et enfin grâce à un usage renouvelé des mots. Anglaise aux origines italiennes, Rossetti introduit au sein de la voix poétique un bilinguisme source d’interactions qui aboutissent à une langue hybride et à un rapport aux mots débarrassé de tout automatisme pour acquérir une expressivité nouvelle
The purpose of this work, which is dedicated to Christina Rossetti’s poetry, is to step away from the biographical bias which has been the norm in the criticism about Christina Rossetti since her death in 1894. This study, based on the close analysis of the prosodic and formal choices, shows that the poetical voice is above all a construction. Finding the mirror within the text reveals important elements to understand the complex relationship between identity and alterity which, in many ways, defines Rossetti’s style. The examination of the voices that can be heard within her poems, may they be intertextual or fictional, shows how Rossetti manages to create a harmonious and timeless voice out of what strikes as diverse and contradictory. However, despite its apparent regularity, the work, through repetition, undergoes a constant self-redefinition negating the notion of origin or definite version: re-presentation, différance, and perpetual re-writing give the reader a text that keeps eluding him/her. This refusal of finitude hints at another ambition, that of reaching a “beyondˮ which is no longer religious — many of her poems express a wish to make one with the divine — but poetical: through an intimate relationship between God, the poet and the text; through the manipulation of the form, which Rossetti’s treatment of the sonnet examplifies; and finally through the poet’s renewed use of words. As an English poet with Italian origins, Rossetti inserts her bilingualism within the poetical voice and thereby creates interactions that result in a hybrid language and a relationship to words freed from habit and automatic reflex to reach enhanced expressivity
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Alarabi, Nour. "A God of their own : religion in the poetry of Emily Brontë, Christina Rossetti and Constance Naden." Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/4795.

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This thesis aims to portray the different ways in which nineteenth-century women poets perceived God and religion, exemplified by the works of Emily Brontë, Christina Rossetti, and Constance Naden. From the 1960s onward, there have been considerable efforts to redefine Victorian women‘s spirituality, and to eliminate the ‘angel of the house‘ image that was attached to them by their male contemporaries. As a result, the works of many Victorian women poets have been revived and re-evaluated. Brontë and Rossetti have been the focus of many individual studies which have explored their religious orientations, mainly by identifying in their works the religious doctrines of the movements with which they were associated. In contrast, Constance Naden‘s status as an atheist scientist and a philosopher has made modern scholars overlook the representation of religion in her poetry. By focussing on the less familiar poems of Brontë (the Gondal poems) and Rossetti (the secular early poems), the thesis will offer a new interpretation of their relationship with God. This will not be based on a consideration of their religious beliefs but on the lack of them in their early works. The chapter on Naden, however, will demonstrate how her scientific training did not stop her from sympathizing with theists, and admiring prophets and mystics. The ultimate aim of the thesis will be to illustrate the individuality of these poets and the uniqueness of their thought. This will be achieved through a close analysis of the poems, with a minimal use of feminist and other literary theories. It will also demonstrate the problematic interpretations that may arise from associating these poets with one religious movement or one school of thought.
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Books on the topic "Poetry of Christina Rossetti"

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Peter, Porter, ed. Christina Rossetti. Oxford: Oxford University Press, 1986.

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1942-, Marsh Jan, ed. Christina Rossetti. London: Phoenix Poetry, 2002.

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Peter, Porter, ed. Christina Rossetti. New York: C.N. Potter, 1986.

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1944-, Crump R. W., and Flowers Betty S, eds. Christina Rossetti: The complete poems. London: Penguin, 2001.

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Christina Rossetti: The poetry of endurance. Carbondale: Southern Illinois University Press, 1986.

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Thomas, Frances. Christina Rossetti. London: Self Publishing Association, 1992.

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Thomas, Frances. Christina Rossetti. Hanley Swan, Worcs: Self Pub. Association in conjunction with F. Thomas, 1992.

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Thomas, Frances. Christina Rossetti. London: Virago Press, 1994.

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Christina Rossetti and the poetry of discovery. Baton Rouge: Louisiana State University Press, 1989.

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The complete poems of Christina Rossetti. Baton Rouge: Louisiana State University Press, 1987.

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Book chapters on the topic "Poetry of Christina Rossetti"

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "‘The Poetry of Christina Rossetti’." In Literary and Cultural Criticism from the Nineteenth Century, 393–99. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199922-54.

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Chapman, Alison. "The Afterlife of Poetry: ‘Goblin Market’." In The Afterlife of Christina Rossetti, 131–56. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230286009_8.

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Van Remoortel, Marianne. "Christina Rossetti and the Economics of Periodical Poetry." In Women, Work and the Victorian Periodical, 71–91. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137435996_5.

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Harrison, Antony H. "Christina Rossetti and the Romantics: Influence and Ideology." In Influence and Resistance in Nineteenth-Century English Poetry, 131–49. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23084-6_8.

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Palazzo, Lynda. "Early Poetry, Including Goblin Market and Maude." In Christina Rossetti’s Feminist Theology, 1–30. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230504677_1.

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Palazzo, Lynda. "Later Poetry, Including The Prince’s Progress and Annus Domini." In Christina Rossetti’s Feminist Theology, 31–56. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230504677_2.

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Gelpi, Barbara Charlesworth. "‘Verses with a Good Deal about Sucking’: Percy Bysshe Shelley and Christina Rossetti." In Influence and Resistance in Nineteenth-Century English Poetry, 150–65. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23084-6_9.

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Marshall, Linda E. "Mysteries Beyond Angels in Christina Rossetti’s From House to Home." In Women’s Poetry, Late Romantic to Late Victorian, 313–24. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27021-7_15.

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Kullmann, Thomas. "Christina Rossetti." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 113–15. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_22.

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Ludlow, Elizabeth. "Christina Rossetti." In The Blackwell Companion to the Bible in English Literature, 551–62. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch39.

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Conference papers on the topic "Poetry of Christina Rossetti"

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LI, Li-hong. "On the Religious Emotion Revealed in the Poetry of Puritanical Christina Georgina Rossetti." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.466.

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