Second Person Singular : Late Victorian Women Poets and the Bonds of Verse

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Emily Harrington offers a new history of women's poetry at the turn of the century that breaks from conventional ideas of nineteenth-century lyric, which focus on individual subjectivity. She argues that women poets conceived of lyric as an intersubjective genre, one that seeks to establish rel...

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Détails bibliographiques
Auteur principal: Harrington, Emily
Format: Électronique eBook
Langue:Inglés
Publié: University of Virginia Press, 2014.
Collection:Book collections on Project MUSE.
Sujets:
English poetry > Women authors.
English poetry.
LITERARY CRITICISM > European > English, Irish, Scottish, Welsh.
POETRY > English, Irish, Scottish, Welsh.
Poesie anglaise > 19e siecle > Histoire et critique.
Poesie lyrique > Histoire et critique > Theorie, etc.
English poetry > 19th century > History and criticism.
English poetry > Women authors > History and criticism.
Lyric poetry > History and criticism > Theory, etc.
Criticism, interpretation, etc.
Electronic books.
Accès en ligne:Texto completo
Table des matières:
  • "I, for thou callest such": Christina Rossetti's heavenly intimacy
  • "Appraise love and divide": measuring love in Augusta Webster's Mother and daughter
  • The strain of sympathy: A. Mary F. Robinson, the new arcadia and Vernon Lee
  • "Be loved through thoughts of mine": Alice Meynell's intimate distance
  • "So I can wait and sing": Dollie Radford's poetics of waiting
  • Conclusion: Mary E. Coleridge and the second person plural.

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