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The Political Poetess : Victorian Femininity, Race, and the Legacy of Separate Spheres / Tricia Lootens.

By: Material type: TextTextPublisher: Princeton, NJ : Princeton University Press, [2016]Copyright date: ©2017Description: 1 online resource (344 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780691170312
  • 9781400883721
Subject(s): DDC classification:
  • 821.8099287 23
LOC classification:
  • PR595.W6
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Introduction: Slaves, Spheres, Poetess Poetics -- Section 1. Racializing the Poetess: Haunting "Separate Spheres" -- Chapter One. Antislavery Afterlives: Changing the Subject / Haunting the Poetess -- Chapter Two. "Not Another 'Poetess'": Feminist Criticism, Nineteenth-Century Poetry, and the Racialization of Suicide -- Section 2. Suspending Spheres: The Violent Structures of Patriotic Pacifism -- Chapter Three. Suspending Spheres, Suspending Disbelief: Hegel's Antigone, Craik's Crimea, Woolf's Three Guineas -- Chapter Four. Turning and Burning: Sentimental Criticism, Casabiancas, and the Click of the Cliché -- Section 3. Transatlantic Occasions: Nineteenth-Century Antislavery Poetics at the Limits -- Chapter Five. Teaching Curses, Teaching Nations: Abolition Time and the Recoils of Antislavery Poetics -- Chapter Six. Harper's Hearts: "Home Is Never Natural or Safe" -- Notes -- Works Cited -- Acknowledgments -- Index
Summary: The Political Poetess challenges familiar accounts of the figure of the nineteenth-century Poetess, offering new readings of Poetess performance and criticism. In performing the Poetry of Woman, the mythic Poetess has long staked her claims as a creature of "separate spheres"-one exempt from emerging readings of nineteenth-century women's political poetics. Turning such assumptions on their heads, Tricia Lootens models a nineteenth-century domestic or private sphere whose imaginary, apolitical heart is also the heart of nation and empire, and, as revisionist histories increasingly attest, is traumatized and haunted by histories of slavery. Setting aside late Victorian attempts to forget the unfulfilled, sentimental promises of early antislavery victories, The Political Poetess restores Poetess performances like Julia Ward Howe's "Battle Hymn of the Republic" and Emma Lazarus's "The New Colossus" to view-and with them, the vitality of the Black Poetess within African-American public life.Crossing boundaries of nation, period, and discipline to "connect the dots" of Poetess performance, Lootens demonstrates how new histories and ways of reading position poetic texts by Felicia Dorothea Hemans, Elizabeth Barrett Browning, Dinah Mulock Craik, George Eliot, and Frances E. W. Harper as convergence points for larger engagements ranging from Germaine de Staël to G.W.F. Hegel, Virginia Woolf, Elizabeth Bishop, Alice Walker, and beyond.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781400883721

Frontmatter -- Contents -- Introduction: Slaves, Spheres, Poetess Poetics -- Section 1. Racializing the Poetess: Haunting "Separate Spheres" -- Chapter One. Antislavery Afterlives: Changing the Subject / Haunting the Poetess -- Chapter Two. "Not Another 'Poetess'": Feminist Criticism, Nineteenth-Century Poetry, and the Racialization of Suicide -- Section 2. Suspending Spheres: The Violent Structures of Patriotic Pacifism -- Chapter Three. Suspending Spheres, Suspending Disbelief: Hegel's Antigone, Craik's Crimea, Woolf's Three Guineas -- Chapter Four. Turning and Burning: Sentimental Criticism, Casabiancas, and the Click of the Cliché -- Section 3. Transatlantic Occasions: Nineteenth-Century Antislavery Poetics at the Limits -- Chapter Five. Teaching Curses, Teaching Nations: Abolition Time and the Recoils of Antislavery Poetics -- Chapter Six. Harper's Hearts: "Home Is Never Natural or Safe" -- Notes -- Works Cited -- Acknowledgments -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

The Political Poetess challenges familiar accounts of the figure of the nineteenth-century Poetess, offering new readings of Poetess performance and criticism. In performing the Poetry of Woman, the mythic Poetess has long staked her claims as a creature of "separate spheres"-one exempt from emerging readings of nineteenth-century women's political poetics. Turning such assumptions on their heads, Tricia Lootens models a nineteenth-century domestic or private sphere whose imaginary, apolitical heart is also the heart of nation and empire, and, as revisionist histories increasingly attest, is traumatized and haunted by histories of slavery. Setting aside late Victorian attempts to forget the unfulfilled, sentimental promises of early antislavery victories, The Political Poetess restores Poetess performances like Julia Ward Howe's "Battle Hymn of the Republic" and Emma Lazarus's "The New Colossus" to view-and with them, the vitality of the Black Poetess within African-American public life.Crossing boundaries of nation, period, and discipline to "connect the dots" of Poetess performance, Lootens demonstrates how new histories and ways of reading position poetic texts by Felicia Dorothea Hemans, Elizabeth Barrett Browning, Dinah Mulock Craik, George Eliot, and Frances E. W. Harper as convergence points for larger engagements ranging from Germaine de Staël to G.W.F. Hegel, Virginia Woolf, Elizabeth Bishop, Alice Walker, and beyond.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)