The Tension Between Mysticism and Erotic Sensibility in Christina Rossetti\u27s Goblin Market

Goblin Market, Christina Rossetti\u27s best-known narrative poem, appeared in 1862 as the leading poem in Goblin Market and Other Poems, a volume designed to attract the Christmas trade. Since then, the few scholars who have ventured to regard Miss Rossetti as something more than Dante Gabriel\u27s sister have concerned themselves with varied and in-depth critical interpretations of Goblin Market. William Rossetti, brother and biographer of the poet, reports that he had often heard Christina say that she meant nothing profound by the fairy tale and that Goblin Market should not be taken as an apologue. Disregarding Christina Rossetti\u27s own comment, the critics seem to ·divide themselves into three distinct groups with each presenting a different critical approach to Goblin Market

Lucy Faulkner and the 'ghastly grin': Reworking the title page illustration to Goblin Market

An article that recovers the work of the craftswoman Lucy Faulkner Orrinsmith. It demonstrates her role in the re-cutting of the title page illustration to Christina Rossetti’s poem ‘Goblin Market’ designed by D. G. Rossetti in 1862-5

Goblin Market and the Madonna-Whore Complex

“The woman question” refers to a centuries-long debate over what role women play—or ought to play—in society. In the Victorian age, halting strides toward gender equality narrowed the question to such subjects as what skills women and men had in common, what level of education was appropriate for a woman, and how women should or should not compliment their male counterparts. Responses were wide-ranging; most Victorians favored some form of gender roles, some sought their absolute destruction, and many fell between the two camps. Among these voices, Christina Rossetti’s stood out for the strength and acumen with which she sought to right societal wrongs. Her poem “Goblin Market,” for instance, features a pair of sisters who possess agency in their own story, undercut prevailing stereotypes regarding women, and end the story with a redemptive picture of feminine solidarity

British Imperialism and Cultural Anxieties in Christina Rossetti’s Goblin Market

Goblin Market (1862) by Christina Rossetti is a narrative, fantasy poem about two sisters, Lizzie and Laura, who face temptations from goblin men who, on the surface, sell fruit at a market, but whose addictive wares physically debilitate their customers to the point of death. Given that the release of this poem in the thick of England’s Victorian era coincides with the reign of the British Empire, I read and understand it in light of that historical context. In this reading, Goblin Market conveys cultural anxieties about what the British Empire means for England, specifically as it deals with commercial relationships with its subjects. Understanding that this poem covertly showcases cultural anxieties about British imperialism provides just one of many examples of the impact of British imperialism on the literary culture of its time

“No Friend Like a Sister”: Christina Rossetti’s Fantastic Departure from Pre-Raphaelite Poetics and Art in “Goblin Market”

Christina Rossetti’s poetics and artistic vision in her seminal poem, “Goblin Market,” have yielded a range of critical theories, from positions on sisterhood to the ambiguous position of capitalist markets. While considering the socioeconomic and cultural context behind the poem’s development and resonance among contemporary feminist movements, readers also ought to consider the actual “goblin brotherhood” — the Pre-Raphaelite Brotherhood (PRB) — behind Rossetti’s authorial ventures. This paper argues that Rossetti’s fantastical methods draw influence from and participate in the PRB’s poetics and artistic traditions, while subverting the same conventions within a feminist paradigm. Rossetti not only envisions a homosocial feminine utopia at the poem’s closure, but makes undeniable and pointed references to several of the PRB’s most formative poems and artwork, such as her brother Dante Gabriel Rossetti’s “Jenny,” and “Ecce Ancilla Domini!” As the fantastical world of “Goblin Market” and the literal circumstances of her poetic enterprise collide, Rossetti imagines a new discourse for women poets of her time and beyond

Forbidden Foods and Guilty Pleasures in Lewis\u27 \u3ci\u3eThe Lion, The Witch, & The Wardrobe\u3c/i\u3e & Christina Rosetti\u27s Goblin Market

Presents The Lion, the Witch and the Wardrobe as a rethinking of “Goblin Market,” with its themes of punishment for certain types of sexual pleasure

Listen to the Story: Banksy, Tyler the Creator, and the Growing Nihilistic Mindset

Art, as an expression of feelings, worldviews, and personal beliefs, is a reflection of our environment and how we interact with it. In this way, urban art such as rap music and graffiti can serve as a lens through which we are able to examine the state of the urban environment. Building on community literature that addresses the presence of nihilism in rap music, this work will establish that nihilism is a prevalent theme in the work of two artists: Tyler the Creator\u27s rap music and BANKSY\u27s graffiti art. By examining the growing subculture and appeal of urban art in relation to these two artists, this paper will argue that BANKSY and Tyler the Creator belong to a new wave of urban art, one that appeals to and originates from people of all races and classes. The current work will then examine these artists\u27 motives in including nihilism within their art in order to argue that the disillusionment and nihilism once found primarily within inner cities is now spreading to new frontiers. Using this analysis, the current work will raise questions as to the possible causes and consequences of this spreading nihilistic mindset

'Against the World': Michael Field, female marriage and the aura of amateurism'

This article considers the case of Katherine Bradley and Edith Cooper, an aunt and niece who lived and wrote together as ‘Michael Field’ in the fin-de-siècle Aesthetic movement. Bradley’s bold statement that she and Cooper were ‘closer married’ than the Brownings forms the basis for a discussion of their partnership in terms of a ‘female marriage’, a union that is reflected, as I will argue, in the pages of their writings. However, Michael Field’s exclusively collaborative output, though extensive, was no guarantee for success. On the contrary, their case illustrates the notion, valid for most products of co-authorship, that the jointly written work is always surrounded by an aura of amateurism. Since collaboration defied the ingrained notion of the author as the solitary producer of his or her work, critics and readers have time and again attempted to ‘parse’ the collaboration by dissecting the co-authored work into its constituent halves, a treatment that the Fields too failed to escape