Relevant bibliographies by topics / Women – Great Britain – Literary collections

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

Academic literature on the topic 'Women – Great Britain – Literary collections'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women – Great Britain – Literary collections"

1

Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.

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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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2

Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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3

Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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4

Ritchie, J. M. "WOMEN IN EXILE IN GREAT BRITAIN." German Life and Letters 47, no. 1 (January 1994): 51–66. http://dx.doi.org/10.1111/j.1468-0483.1994.tb01521.x.

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5

Hale, Robert C. "Women Writers and Old Age in Great Britain, 1750-1850. Devoney Looser." Wordsworth Circle 41, no. 4 (September 2010): 255–56. http://dx.doi.org/10.1086/twc24043669.

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6

Small, H. "DEVONEY LOOSER. Women Writers and Old Age in Great Britain, 1750-1850." Review of English Studies 61, no. 248 (October 25, 2009): 149–51. http://dx.doi.org/10.1093/res/hgp105.

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7

Fernández Rodríguez, Carmen María. "A Translemic Analysis of Maria Edgeworth’s "L’Absent ou La famille irlandaise à Londres" (1814)." Journal of English Studies 12 (December 20, 2014): 49. http://dx.doi.org/10.18172/jes.2823.

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After the publication of "Castle Rackrent" (1800), Maria Edgeworth (1768-1849) became one of the most famous nineteenth-century women writers in Great Britain, and her oeuvre was quickly translated on the Continent. This article analyzes the French translation of Edgeworth’s Irish tale "The Absentee" (1812) within the framework of Descriptive Translation Studies (DTS). For that purpose, both the source and the target text will be contextualized following Itamar Even-Zohar’s ideas on the literary system which is understood as a network of relations between elements depending on each other. As will be shown, the text prepared for the French-speaking readers greatly departs from the original text published in Great Britain, a fact which should be considered by any research on Edgeworth’s reception in Europe.
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8

Wright, Angela. "Women Writing the Nation: National Identity, Female Community, and the British-French Connection, 1770–1820; Women Writers and Old Age in Great Britain, 1750–1850." European Romantic Review 24, no. 1 (February 2013): 75–79. http://dx.doi.org/10.1080/10509585.2013.747810.

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9

Stafford, E. "Corpus Vasorum Antiquorum, Great Britain, Fascicule 18: The Glasgow Collections: The Hunterian Museum; The Glasgow Museum and Art Gallery, Kelvingrove; The Burrell Collection. E Moignard." Classical Review 48, no. 2 (February 1, 1998): 430–31. http://dx.doi.org/10.1093/cr/48.2.430.

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10

Walker, Gina Luria. "Women Writers and Old Age in Great Britain 1750-1850. Devoney Looser.The Long Life. Helen Small.Byron: Heritage and Legacy. Cheryl A. Wilson." Wordsworth Circle 40, no. 4 (September 2009): 165–66. http://dx.doi.org/10.1086/twc24043558.

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Dissertations / Theses on the topic "Women – Great Britain – Literary collections"

1

Eger, Elizabeth. "The Nine Living Muses of Great Britain : women, reason and literary community in eighteenth-century Britain." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272422.

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2

Pickard, Claire. "Literary Jacobitism : the writing of Jane Barker, Mary Caesar and Anne Finch." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:85514fc9-6f0c-4992-ae8c-2666dc1f7ede.

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This thesis argues that much of the gender based criticism that has led to the "rediscovery" of neglected early modern women writers has, paradoxically, also served to limit our understanding of such writers by distracting attention from other aspects of their writing, such as their political commitments. The three authors considered, Jane Barker (1652-1732), Mary Caesar (1677-1741) and Anne Finch (1661-1720), have been selected precisely because Jacobitism is central to their writing. However, it will be argued that a focus upon gender politics in the texts of these writers has led to a failure to comprehend the party political boldness of their work. The thesis examines the writing of each author in turn and explores the implications of Barker's, Caesar's and Finch's Jacobite allegiances for their respective views of human history as played out in political affairs. It also considers the ways in which each author attempts to reconcile a cause that is supposedly supported by God with apparent political failure. The quest of Barker, Caesar and Finch to investigate these issues and to comprehend how Jacobitism forms part of their own authorial identities is central to what is meant here by "literary Jacobitism" in relation to these writers. The thesis demonstrates that Jacobitism is enabling for each of these three women as it enhances their ability to conceive of themselves as authors by allowing their sense of political identity to overcome their scruples about their position as women who write. However, it also illustrates that Jacobitism functions differently in the writing of each of the selected authors. It thus argues that an undifferentiated labelling of the work of these three women as "Jacobite" is as restrictive as their previous categorisation as "women writers".
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Books on the topic "Women – Great Britain – Literary collections"

1

Meyer, Spacks Patricia Ann, ed. Selections from The female spectator. New York: Oxford University Press, 1999.

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2

1912-, Abrams M. H., and Greenblatt Stephen 1943-, eds. The Norton anthology of English literature: Seventh Edition: Volume 1. 7th ed. New York: W. W. Norton & Company, 2000.

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Mary Wollstonecraft: A literary life. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.

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4

Celia, Mitchell, and Cohen Daniel, eds. Just Adrian. London: Oberon Books, 2011.

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5

Marechera, Dambudzo. The black insider. London: Lawrence & Wishart, 1992.

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Marechera, Dambudzo. The black insider. Trenton, N.J: Africa World Press, 1999.

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Marechera, Dambudzo. The black insider. Harare: Baobab Books, 1990.

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8

Writing women's literary history. Baltimore: Johns Hopkins University Press, 1993.

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Farmwork: Men and women on the land. London: Chatto & Windus, 1988.

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Romantic interactions: Social being and the turns of literary action. Baltimore: Johns Hopkins University Press, 2010.

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Book chapters on the topic "Women – Great Britain – Literary collections"

1

Easley, Alexis. "Introduction." In New Media and the Rise of the Popular Woman Writer, 1832-1860, 1–23. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475921.003.0001.

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This introductory chapter provides an overview of the 1832-60 time period in Great Britain, focusing on developments in the publishing trade that offered new openings for women writers to pursue literary careers. It also provides a chapter outline, as well as a discussion of methodology and current scholarship on women writers and the history of mass media.
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