The violation of boundaries between the arts is often cited as a characteristic of modernism. Although Virginia Woolf's interest in painting is a well-established example, The Multiple Muses of Virginia Woolf offers new insight into the importance of Woolf's relationship with painters, their theories, and their works. The collection also reveals for the first time the great impact that the arts - photography, cinema, dance, and music - had on Woolf's writing. In these eight essays Gillespie has brought together some of the most exciting new scholarship in this area to show how similarities and differences among the arts helped Woolf define her own verbal experiments. Receiving formal inspiration, she nevertheless evolved ways to prevent form and, at the other end of the continuum, sentiment, from obliterating general emotion and, to some extent, social commentary. In all these other arts, Woolf found ways to challenge the largely masculine traditions of literature. She also discovered more indirect ways of creating characters in her fiction, particularly in depicting the complexities and ambiguities of ordinary people. As much as the volatility in the art world of her day excited her, however, and as much as the limitations of language sometimes frustrated her, Woolf consistently asserted the primacy and inclusive nature of her literary art. This collection of essays, which provides unique insight into the Bloomsbury Group, will be of interest to all readers of Virginia Woolf's fiction and to students of modernism as well.

Schets van de rol van de vrouw in de nederlandstalige literatuur en profielen van 28 nederlandstalige schrijfsters.

The book begins with 126 pages of content representing the vernacular tradition. Covers spirituals; gospel; the blues; secular rhymes and songs; ballads; and work songs; jazz; and folktales.

Overzicht van de 17e eeuwse Nederlandse letterkunde.

In Lost Saints Tricia Lootens argues that parallels between literary and religious canons are far deeper than has yet been realized. She presents the ideological underpinnings of Victorian literary canonization and the general processes by which it occurred and discloses the unacknowledged traces of canonization at work today. Literary legends have accorded canonicity to women writers such as Felicia Hemans, Elizabeth Barrett Browning, and Christina Rossetti, she contends, but often at the cost of discounting their claims as serious poets. "Saint Shakespeare", midcentury "Woman-Worship", and "Shakespeare's Heroines" provide three focal points for analysis of how nineteenth-century criticism turned the discourse of religious sanctity to literary ends. Literary secular sanctity could transform conflicts inherent in religious canonization, but it could not transcend them. Even as they parody the lives of the saints, nineteenth-century lives of the poets reinscribe old associations of reverence with censorship. They also carry long-standing struggles over femininity and sanctity into new, highly charged secular contexts. Through case studies of the canonization of Elizabeth Barrett Browning and Christina Rossetti, Lootens demonstrates how nineteenth-century literary legends simultaneously glorified women poets and opened the way for critical neglect of their work. The author draws on a wide range of sources: histories of literature, religion, and art; medieval studies and folklore; and nineteenth-century poetry, essays, conduct books, textbooks, and novels.

This book explores the puzzling phenomenon of new veiling practices among lower middle class women in Cairo, Egypt. Although these women are part of a modernizing middle class, they also voluntarily adopt a traditional symbol of female subordination. How can this paradox be explained? An explanation emerges which reconceptualizes what appears to be reactionary behavior as a new style of political struggle--as accommodating protest. These women, most of them clerical workers in the large government bureaucracy, are ambivalent about working outside the home, considering it a change which brings new burdens as well as some important benefits. At the same time they realize that leaving home and family is creating an intolerable situation of the erosion of their social status and the loss of their traditional identity. The new veiling expresses women's protest against this. MacLeod argues that the symbolism of the new veiling emerges from this tense subcultural dilemma, involving elements of both resistance and acquiescence.

A critical study of 19th century women writers of New England, (orig. pub. 1983) evaluates the originality of the group that included Harriet Beecher Stowe, Annie Fields, Rose Terry Cooke, Elizabeth Stuart Phelps, Sarah Orner Jewett, Mary E. Wilkes [Freeman].

Collects the sixty-nine reviews of seventy-six books that were published between 1942 and 1984 by the well-regarded author

Focusing on intersecting issues of nation, race, and gender, this volume inaugurates new models for American literary and cultural history. Subjects and Citizens reveals the many ways in which a wide range of canonical and non-canonical writing contends with the most crucial social, political, and literary issues of our past and present. Defining the landscape of the New American literary history, these essays are united by three interrelated concerns: ideas of origin (where does "American literature" begin?), ideas of nation (what does "American literature" mean?), and ideas of race and gender (what does "American literature" include and exclude and how?). Work by writers as diverse as Aphra Behn, James Fenimore Cooper, Edgar Allan Poe, Frances Harper, Harriet Beecher Stowe, Herman Melville, William Faulkner, Harriet Jacobs, Frederick Douglass, Abraham Lincoln, Bharati Mukherjee, Booker T. Washington, Mark Twain, Kate Chopin, Américo Paredes, and Toni Morrison are discussed from several theoretical perspectives, using a variety of methodologies. Issues of the "frontier" and the "border" as well as those of coloniality and postcoloniality are explored. In each case, these essays emphasize the ideological nature of national identity and, more specifically, the centrality of race and gender to our concept of nationhood. Collected from recent issues of American Literature, with three new essays added, Subjects and Citizens charts the new directions being taken in American literary studies. Contributors. Daniel Cooper Alarcón, Lori Askeland, Stephanie Athey, Nancy Bentley, Lauren Berlant, Michele A. Birnbaum, Kristin Carter-Sanborn, Russ Castronovo, Joan Dayan, Julie Ellison, Sander L. Gilman, Karla F. C. Holloway, Annette Kolodny, Barbara Ladd, Lora Romero, Ramón Saldívar, Maggie Sale, Siobhan Senier, Timothy Sweet, Maurice Wallace, Elizabeth Young

The late eighteenth century witnessed an influx of black women to the slave-trading ports of the American Northeast. The formation of an early African American community, bound together by shared experiences and spiritual values, owed much to these women's voices. The significance of their writings would be profound for all African Americans' sense of their own identity as a people. Katherine Clay Bassard's book is the first detailed account of pre-Emancipation writings from the period of 1760 to 1863, in light of a developing African American religious culture and emerging free black communities. Her study--which examines the relationship among race, culture, and community--focuses on four women: the poet Phillis Wheatley and poet and essayist Ann Plato, both Congregationalists; and the itinerant preacher Jarena Lee, and Shaker eldress Rebecca Cox Jackson, who, with Lee, had connections with African Methodism. Together, these women drew on what Bassard calls a "spirituals matrix," which transformed existing literary genres to accommodate the spiritual music and sacred rituals tied to the African diaspora. Bassard's important illumination of these writers resurrects their path-breaking work. They were cocreators, with all black women who followed, of African American intellectual life.

Examines representations of political, psychological, and sexual violence in seven novels by American women.