Relevant bibliographies by topics / Rossetti, Christina / Journal articles
To see the other types of publications on this topic, follow the link: Rossetti, Christina.

Journal articles on the topic 'Rossetti, Christina'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Rossetti, Christina.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Thomas, Frances. "Christina Rossetti." Art Book 2, no. 1 (1994): 26–27. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00378.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Thomas, Frances. "Christina Rossetti." Art Book 2, no. 1 (1995): 26–27. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00378.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
4

Mazel, Adam. "“YOU, GUESS”: THE ENIGMAS OF CHRISTINA ROSSETTI." Victorian Literature and Culture 44, no. 3 (2016): 511–33. http://dx.doi.org/10.1017/s1060150316000073.

Full text
Abstract:
Throughout her life, Christina Rossetti was an enthusiastic writer and player of word games in verse. When she was seventeen, for instance, she spent the summer of 1848 in Brighton playing bouts-rimés sonnets with her brother, William. Together they timed themselves to see how fast they could write lines of verse to a given set of end rhymes: “emotional devastation in ten minutes or less,” Anne Jamison wittily puts it (145). Two years later, Rossetti published under her initials instances of different word games – an enigma (“Name any gentleman you spy”) and a charade (“My first is no proof of my second”) – as part of a series of riddling word games in verse by various authors in the Marshall's Ladies Daily Remembrancer: For 1850. They count among Rossetti's first poetic publications. These popular riddling genres, while perhaps less familiar to readers today, were immediately recognizable to Rossetti's contemporaries. In his 1872 riddle anthology, Guess Me, F. D. Planché defines an “Enigma” as a riddle in verse, or “the most ancient form of Riddle . . . often a real poem as well as a question for solution” (3). In the 1891 Cornhill Magazine, the article “Riddles” glosses a “charade” as a riddle that “turns upon the letters or syllables composing a word” (518). By publishing an enigma and a charade in Marshall's Ladies Daily Remembrancer, an inexpensive pocket book for women, Rossetti capitalized on the association of these genres as written by and for middle-class women, a point that I will argue in more detail later.
APA, Harvard, Vancouver, ISO, and other styles
5

Chatterjee, Ronjaunee. "PRECARIOUS LIVES: CHRISTINA ROSSETTI AND THE FORM OF LIKENESS." Victorian Literature and Culture 45, no. 4 (2017): 745–62. http://dx.doi.org/10.1017/s1060150317000195.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
6

Caldwell, Patrice, and Anthony H. Harrison. "Christina Rossetti in Context." Rocky Mountain Review of Language and Literature 43, no. 1/2 (1989): 101. http://dx.doi.org/10.2307/1347204.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mermin, Dorothy, Antony H. Harrison, and David A. Kent. "Christina Rossetti in Context." Tulsa Studies in Women's Literature 8, no. 2 (1989): 315. http://dx.doi.org/10.2307/463742.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kestner, Joseph A. "The Christina Rossetti Exhibition." Tulsa Studies in Women's Literature 14, no. 2 (1995): 391. http://dx.doi.org/10.2307/463914.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

McAlpine, Heather. "Christina Rossetti and the Bible: Waiting with the Saints/Christina Rossetti’s Gothic." Journal of Victorian Culture 20, no. 4 (2015): 563–67. http://dx.doi.org/10.1080/13555502.2015.1090211.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

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

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
11

Ricks, Christopher. "Christina Rossetti and Commonplace Books." Grand Street 9, no. 3 (1990): 190. http://dx.doi.org/10.2307/25007382.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Reynolds, Margaret, David A. Kent, and Antony H. Harrison. "The Achievement of Christina Rossetti." Modern Language Review 86, no. 2 (1991): 420. http://dx.doi.org/10.2307/3730562.

Full text
APA, Harvard, Vancouver, ISO, and other styles
13

Woolford, J. "The Advent of Christina Rossetti." Review of English Studies 62, no. 256 (2009): 618–39. http://dx.doi.org/10.1093/res/hgp055.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

PALAZZO, LYNDA. "CHRISTINA ROSSETTI: TWO FORGOTTEN SKETCHES." Notes and Queries 37, no. 1 (1990): 38—b—39. http://dx.doi.org/10.1093/nq/37-1-38b.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Harrison, Antony H. "Christina Rossetti: Illness and Ideology." Victorian Poetry 45, no. 4 (2007): 415–28. http://dx.doi.org/10.1353/vp.2008.0000.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Baker, W., and E. Kingery. "Some New Christina Rossetti Materials." Notes and Queries 56, no. 3 (2009): 394–96. http://dx.doi.org/10.1093/notesj/gjp072.

Full text
APA, Harvard, Vancouver, ISO, and other styles
17

Willis, Elizabeth. "Christina Rossetti and Pre-Raphaelitenoir." Textual Practice 18, no. 4 (2004): 521–40. http://dx.doi.org/10.1080/0950236042000287417.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Ayundhari, Vidia. "The Notion of Wind on Rossetti’s and Damono’s Literary Work." Lingual: Journal of Language and Culture 11, no. 1 (2021): 9. http://dx.doi.org/10.24843/ljlc.2021.v11.i01.p02.

Full text
Abstract:
Christina Rossetti and Sapardi Djoko Damono are two poets born in different nationalities. Both mostly drew simple poems using natural objects, such as wind. The wind as a symbol of poem writing seems more appealing towards the poets and also the readers to interpret. The paper discusses several poems involved wind as an element on Rossetti’s work. It also analyses “Angin 3” by Damono.
APA, Harvard, Vancouver, ISO, and other styles
20

Chapman, Raymond. ": Christina Rossetti in Context. . Antony H. Harrison. ; The Achievement of Christina Rossetti. . David A. Kent." Nineteenth-Century Literature 44, no. 1 (1989): 107–9. http://dx.doi.org/10.1525/ncl.1989.44.1.99p0222y.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Mason, Emma, and Constance W. Hassett. "Christina Rossetti: The Patience of Style." Modern Language Review 102, no. 4 (2007): 1146. http://dx.doi.org/10.2307/20467574.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
24

Van Remoortel, Marianne. "An Unpublished Letter by Christina Rossetti." Notes and Queries 59, no. 3 (2012): 439–40. http://dx.doi.org/10.1093/notesj/gjs104.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Frankel, N. "A New Poem by Christina Rossetti." Notes and Queries 61, no. 1 (2014): 92–95. http://dx.doi.org/10.1093/notesj/gjt239.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

Schofield, Linda, and Diane D'Amico. "Christina Rossetti: Faith, Gender and Time." South Atlantic Review 65, no. 3 (2000): 142. http://dx.doi.org/10.2307/3201558.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

GRIFFITHS, E. "The Disappointment of Christina G. Rossetti." Essays in Criticism XLVII, no. 2 (1997): 107–42. http://dx.doi.org/10.1093/eic/xlvii.2.107.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Belsey, Andrew, and Catherine Belsey. "Christina Rossetti: Sister to the brotherhood." Textual Practice 2, no. 1 (1988): 30–50. http://dx.doi.org/10.1080/09502368808582024.

Full text
APA, Harvard, Vancouver, ISO, and other styles
29

SWANN, CHARLES. "A CHRISTINA ROSSETTI DEBT TO MARVELL?" Notes and Queries 43, no. 4 (1996): 432—a—432. http://dx.doi.org/10.1093/nq/43-4-432a.

Full text
APA, Harvard, Vancouver, ISO, and other styles
30

SWANN, CHARLES. "A CHRISTINA ROSSETTI DEBT TO MARVELL?" Notes and Queries 43, no. 4 (1996): 432—a—432. http://dx.doi.org/10.1093/nq/43.4.432-a.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

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

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
32

Plourde, Aubrey. "The Innocent Old Way: Reserved Interpretation and Christina Rossetti's “Goblin Market”." PMLA/Publications of the Modern Language Association of America 134, no. 5 (2019): 1076–93. http://dx.doi.org/10.1632/pmla.2019.134.5.1076.

Full text
Abstract:
Christina Rossetti's “Goblin Market” has long been recognized as an interpretive enigma. Simultaneously conducting its own surface reading and inviting us to interrogate its buried meanings, the poem adapts the Tractarian doctrine of reserve to set up a hermeneutic paradox rooted in Victorian exegetical thought. Variously a standard for reticent poetic style, an apologia for divine mystery, and a prescription for limiting complex theological knowledge, reserve also served Victorian thinkers as a hermeneutic strategy. Rossetti plays reserve against itself by dramatizing its dueling imperatives—inciting and containing curiosity. Laura's epilogue forecloses interpretation for “illiterate” spiritual children—those who might misconstrue mysterious meanings; simultaneously, the epilogue mobilizes a competing dimension of reserve, juxtaposing its interpretive gatekeeping against its hermeneutic potential. Anticipating recent reading debates, Rossetti's reserve generates a temporally recursive hermeneutic, within which competing interpretations and interpretive modes can be imagined to coexist.
APA, Harvard, Vancouver, ISO, and other styles
33

Mason, Emma. "Christina Rossetti and the Doctrine of Reserve." Journal of Victorian Culture 7, no. 2 (2002): 196–219. http://dx.doi.org/10.3366/jvc.2002.7.2.196.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Crisp, Shelley J., and Katherine Mayberry. "Christina Rossetti and the Poetry of Discovery." South Atlantic Review 56, no. 1 (1991): 122. http://dx.doi.org/10.2307/3200159.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Knoepflmacher, U. C. "Avenging Alice: Christina Rossetti and Lewis Carroll." Nineteenth-Century Literature 41, no. 3 (1986): 299–328. http://dx.doi.org/10.2307/3044929.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

McGillis, Roderick. "Christina Rossetti: The Patience of Style (review)." Children's Literature Association Quarterly 31, no. 2 (2006): 211–16. http://dx.doi.org/10.1353/chq.2006.0040.

Full text
APA, Harvard, Vancouver, ISO, and other styles
38

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Knoepflmacher, U. C. "Avenging Alice: Christina Rossetti and Lewis Carroll." Nineteenth-Century Literature 41, no. 3 (1986): 299–328. http://dx.doi.org/10.1525/ncl.1986.41.3.99p0036d.

Full text
APA, Harvard, Vancouver, ISO, and other styles
40

Farhana, Jannatul. "Revolutionary Poetic Voices of Victorian Period: A Comparative Study between Elizabeth Barrette Browning and Christina Rossetti." English Language and Literature Studies 6, no. 1 (2016): 69. http://dx.doi.org/10.5539/ells.v6n1p69.

Full text
Abstract:
<p>This article is an attempt to provide a comparative study between Elizabeth Barrette Browning and Christina Rossetti, two famous authors in the Victorian period. As the first female poet Browning throws a challenge by dismantling and mingling the form of epic and novel in her famous creation <em>Aurora Leigh. </em>This epic structurally and thematically offers a new form that questions the contemporary prejudices about women. Being influenced and inspired by Browning, Rossetti shows her mastery on sonnets in <em>Monna Innominata: A Sonnet of Sonnets</em>. Diversity in the themes of her poem allows Rossetti to demonstrate her intellect and independent thinking, which represents the cultural dilemma of Victorian women. Though Browning is addressed as the ‘first female poet’ and the pioneer of revolutionary female poets, her <em>Aurora Leigh </em>recognizes and celebrates the success of a female poet in that period but at the same time acknowledges the importance of traditional romance as well as marriage union at the end of the poem. On the other hand, in <em>Mona Innominata, </em>Rossetti mingles the traditional idea of romance with High Anglican belief to establish and uphold the position of women in the society as an individual and self sufficient one. She is the first poet in Victorian period who boldly denies the dominance of men in a woman’s life by celebrating sisterhood in her another famous work <em>Goblin Market</em>. Though Browning and Rossetti belong to the same period, Rossetti is quite advanced than Browning in terms of experimenting with forms, themes and breaking the conventions of Victorian era.</p>
APA, Harvard, Vancouver, ISO, and other styles
41

Broggi, Alicia. "Christina Rossetti: Poetry, Ecology, Faith. By Emma Mason." Literature and Theology 34, no. 3 (2020): 386–87. http://dx.doi.org/10.1093/litthe/fraa005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
42

Linley, Margaret. "The Afterlife of Christina Rossetti by Alison Chapman." Victorian Review 28, no. 2 (2002): 108–12. http://dx.doi.org/10.1353/vcr.2002.0016.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

Burstein, Miriam Elizabeth. "Christina Rossetti: Poetry, Ecology, Faith, by Mason, Emma." Religion and the Arts 23, no. 3 (2019): 312–13. http://dx.doi.org/10.1163/15685292-02303008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Golden, Catherine. "Christina Rossetti and Illustration: A Publishing History (review)." Victorian Studies 46, no. 2 (2004): 355–57. http://dx.doi.org/10.1353/vic.2004.0087.

Full text
APA, Harvard, Vancouver, ISO, and other styles
45

Esther T. Hu. "Christina Rossetti, John Keble, and the Divine Gaze." Victorian Poetry 46, no. 2 (2008): 175–89. http://dx.doi.org/10.1353/vp.0.0011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Humphries, Simon. "Christina Rossetti: A Descriptive Bibliography (review)." Victorian Poetry 50, no. 2 (2012): 249–53. http://dx.doi.org/10.1353/vp.2012.0010.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Roberts, Helene E. "Christina Rossetti and Illustration: A Publishing History (review)." Victorian Periodicals Review 39, no. 1 (2006): 77–79. http://dx.doi.org/10.1353/vpr.2006.0028.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

Kent, David A. "Christina Rossetti and Illustration: A Publishing History (review)." University of Toronto Quarterly 74, no. 1 (2004): 444–46. http://dx.doi.org/10.1353/utq.2005.0120.

Full text
APA, Harvard, Vancouver, ISO, and other styles
49

James, Serenhedd. "Christina Rossetti: Poetry, Ecology, Faith. By Emma Mason." Journal of Theological Studies 70, no. 2 (2019): 913–15. http://dx.doi.org/10.1093/jts/flz101.

Full text
APA, Harvard, Vancouver, ISO, and other styles
50

Kent, David A. "Book Review: Christina Rossetti: Faith, Gender, and Time." Christianity & Literature 50, no. 2 (2001): 363–65. http://dx.doi.org/10.1177/014833310105000225.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Rossetti, Christina' for other source types:
Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography