166 research outputs found
"In this moment of alarm and peril": Female Education, Religion and Politics In the Late Eighteenth Century, With special reference to Catharine Macaulay and Hannah More
PhDCatharine Macaulay and Hannah More are conventionally represented as
ideological opposites. Through an analysis which centres on their writings, this
thesis critically examines that representation, and more broadly explores
contemporary perceptions of the roles of women of the middling sort in the late
eighteenth century. It argues that revolution, particularly the French Revolution,
created a climate wherein the duties of women became the subject of increasing
debate. The discussion challenges and builds upon recent work on women's
writing and history, by examining how and why the role of women changed at this
time. This work is concerned with contemporary representations of women, and
concentrates on analysis of primary texts and archival material over a wide range
of genres, including educational treatises, plays, popular tracts, political pamphlets,
historical writing and newspapers - the latter proving a major resource.
Following a critical introduction, the thesis falls into four chapters. Chapter one
discusses the reputation, critical reception and public fame of Macaulay and More,
thereby providing insights into contemporary sexual and social politics. Women
were considered arbiters of morals and manners - believed to play a vital role in
ensuring social stability - and the second chapter examines how the threat of
revolution led to increasing anxiety and debate about the nature of female
education. The third and fourth chapters discuss religion and politics respectively,
and argue that beliefs about the interdependency of Church and State, together with
the feminization of religion, legitimized women's involvement in politics and
enlarged their sphere of influence.
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The conclusion argues that the political and religious climate provided
opportunities for women to reassess and redefine their roles; while often remaining
within parameters defined by commonly held perceptions of femininity, they
politicized the domestic, extended female agency, and elevated the status of
women
Excavating the obscure: labouring women, their writing, and eighteenth-century England
This study looks at the poetry of labouring women writers in eighteenth-century England,
specifically, Susannah Harrison, Elizabeth Hands, and Ann Wilson, who contributed substantial
literary works, but have remained mostly obscure. Their writing, along with the historical, social,
and political climate of the period are discussed. Many other labouring women writers of the
period have also made valuable contributions but have gone unnoticed, and although there has
been renewed interest in labouring writers and their works over the past three decades, the
majority, especially women, remain unknown. It is the intent of this author that the poetry of
Harrison, Hands, and Wilson, along with other labouring women authors will be observed and
recognized as significant contributions to eighteenth-century literature.Master of Arts (MA) in Humanitie
Visualising elite political women in the reign of Queen Charlotte, 1761–1818
This thesis examines the visual representations of elite women, who wielded and
were seen to transgress, gendered political roles through their activity in the elite
socio-political spheres of eighteenth-century and early nineteenth-century Britain. In
analysing the portraits and satirical prints of this select breed of women, this study
questions the common bifurcation of gender debates in existing secondary literature,
which include, but are not limited to, the porosity of traditionally conceived public
and private spheres, contested masculine and feminine identities, and the gendering
of morals and vices. The study will explore how predominantly male artists
represented these women alongside an examination of how elite women were able to
manipulate and choreograph their own portrayal. As such, it will probe how these
political women utilised portraiture as a crucial means of self-fashioning; and
likewise how their satirical representation was routinely subjugated to the male gaze.
In doing so, it will reveal the varieties, vagaries and subtleties of the political power
held by women and how this could be iterated, celebrated, or criticised in the visual
culture of late-eighteenth and early-nineteenth century Britain.
Four case studies form this examination. The first, argues that three women from
Rockingham-Whig social networks, Lady Elizabeth Melbourne, Georgiana, Duchess
of Devonshire, and Hon. Anne Damer, used portraiture as a form of self-fashioning
to both celebrate their friendship and declare their burgeoning political agency.
Chapter two revisits the 1784 Westminster election, to probe the theme of rivalry in
satirical prints representing female canvassers. It argues that the visual vocabulary
expressed in such prints pertains to wider cultural debates concerning class and
gender that crucially came to a head during this political event. The third chapter
introduces the dialogues between portraiture and satirical prints through its
examination of the visual media that politicised Scottish Pittite hostess, Jane,
Duchess of Gordon. Whilst the duchess used painted portraiture to proclaim her
adherence to culturally-inscribed gender roles, satirical prints attacked her for her
perceived political access, acquired through her daughters’ marriages and through
her close proximity with prominent members of the Pittite government. The thesis
concludes with a study of arguably the most political woman in the period of study:
Queen Charlotte, consort of George III. This chapter revisits her reputation, arguing
that a close examination of visual culture reveals that the queen, long thought to be
an uncontroversial figure, became deeply problematic after the king’s bout with
‘madness’.
In seeking to connect the visual aspects of women’s political engagement, this thesis
expands on previous work in gender, social, cultural, and art histories such as those
by Elaine Chalus, Cindy McCreery, Marcia Pointon, and Kate Retford to further our
understanding of women’s political activity and eighteenth-century visual culture
Women's Literary Networks and Romanticism
The eighteenth century witnessed the rapid expansion of social, political, religious and literary networks in Great Britain. Increased availability of and access to print combined with the ease with which individuals could correspond across distance ensured that it was easier than ever before for writers to enter into the marketplace of ideas. However, we still lack a complex understanding of how literary networks functioned, what the term ‘network’ means in context, and how women writers in particular adopted and adapted to the creative possibilities of networks. This collection of essays address these issues from a variety of perspectives, arguing that networks not only provided women with access to the literary marketplace, but fundamentally altered how they related to each other, to their literary production, and to the broader social sphere. By examining the texts and networks of authors as diverse as Sally Wesley, Elizabeth Hamilton, Susanna Watts, Elizabeth Heyrick, Joanna Baillie, Mary Berry, Mary Russell Mitford, Mary Shelley and Elizabeth Barrett Browning, this volume demonstrates that attention to the scope and influence of women’s literary networks upends long standing assumptions about gender, literary influence and authorial formation during the Romantic period. Furthermore, it suggests that we must rethink what counts as literature in the Romantic period, how we read it, and how we draw the boundaries of Romanticism
Reading Becomes a Necessity of Life: Material and Cultural Life in Rural New England, 1780-1835
https://trace.tennessee.edu/utk_early-american/1001/thumbnail.jp
Gender, Power, and the January-May Marriage in Nineteenth-Century British Literature
In Charlotte Brontë’s 1848 Jane Eyre, Rochester’s housekeeper Mrs. Fairfax responds to Jane with certain dismay at the thought of her forty-year-old master marrying the twenty-five-year-old Blanche Ingram: “I should scarcely fancy Mr. Rochester would entertain an idea of the sort” (163). Yet to Mrs. Fairfax’s great surprise,Rochester later makes an “unequal match” with an even greater disparity in age to Jane, ultimately bringing the novel to a sentimental close. Marriages with large age differences form an important narrative frame in nineteenth-century British literature, and they conveniently merge disruptive and conservative forces. Although they play with normative codes of sexual propriety and gender identity, they find legitimacy and acceptance through their allegiances to literary, social, and legal conventions.
This study examines the literature of the nineteenth century that engages the theme of an older husband and a younger wife—what I call the theme of the January-May marriage. The focus of my study spans the long nineteenth century, from Elizabeth Inchbald’s 1791 A Simple Story to Bernard Shaw’s 1898 Mrs. Warren’s Profession, covering some of the most canonical works of the period such as Byron’s Don Juan, Dickens’s David Copperfield, and Eliot’s Middlemarch, as well as lesser known texts like Browning’s Pippa Passes, Geraldine Ensor Jewsbury’s Zoe, and Trollope’s An Old Man’s Love. While this project includes works from a variety of genres (novels, poetry, plays, paintings), evaluates marriages with varied age differences (the difference in Emma is sixteen years, but in Nicholas Nickleby, the difference is over fifty years), and discusses the works of authors who wrote from assorted gender, economic, sexual and historical perspectives, the dissertation offers nuanced readings of how intergenerational marriages negotiate exchanges between gender and power.
January-May marriages have thus far served as pat examples of women’s victimization and oppression within a patriarchal society, though some literary critics have begun to investigate the intricate connections between age, gender and power more fully. James Kincaid’s work on the eroticized child and Catherine Robson’s study on girlhood are important precursors to my own work. However, whereas their investigations probe the image of the child and issues of pedophilia, my query moves the sexual “deviancy” of child-loving into the culturally sanctified and seemingly normative marriage union and expands notions of childhood, sometimes reading the babyish younger wife as the child and sometimes the infantilized older husband. Moreover, though this theme appears grounded in a fundamentally heterosexual rubric, my work theorizes a complex relationship between age and gender that rejects such conventional restrictions on identity. Building upon the works of gender theorists like Thomas Laqueur and Michel Foucault, my project finds that literary January-May marriages respond to peculiarly nineteenth-century anxieties regarding gender roles and, organized into thematic chapters, the dissertation analyzes the theme as parody, as incest, as aesthetics, as horror, as economics, and as love
Women's Literary Networks and Romanticism
The eighteenth century witnessed the rapid expansion of social, political, religious and literary networks in Great Britain. Increased availability of and access to print combined with the ease with which individuals could correspond across distance ensured that it was easier than ever before for writers to enter into the marketplace of ideas. However, we still lack a complex understanding of how literary networks functioned, what the term ‘network’ means in context, and how women writers in particular adopted and adapted to the creative possibilities of networks. This collection of essays address these issues from a variety of perspectives, arguing that networks not only provided women with access to the literary marketplace, but fundamentally altered how they related to each other, to their literary production, and to the broader social sphere. By examining the texts and networks of authors as diverse as Sally Wesley, Elizabeth Hamilton, Susanna Watts, Elizabeth Heyrick, Joanna Baillie, Mary Berry, Mary Russell Mitford, Mary Shelley and Elizabeth Barrett Browning, this volume demonstrates that attention to the scope and influence of women’s literary networks upends long standing assumptions about gender, literary influence and authorial formation during the Romantic period. Furthermore, it suggests that we must rethink what counts as literature in the Romantic period, how we read it, and how we draw the boundaries of Romanticism
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