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Victorian Literature and Culture Ser.: Forgotten Female Aesthetes : Literary Culture in Late-Victorian England by Talia Schaffer (2000, Trade Paperback)
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About this product
Product Identifiers
PublisherUniversity of Virginia Press
ISBN-100813919371
ISBN-139780813919379
eBay Product ID (ePID)1655626
Product Key Features
Number of Pages258 Pages
Publication NameForgotten Female Aesthetes : Literary Culture in Late-Victorian England
LanguageEnglish
SubjectWomen Authors, Aesthetics, European / English, Irish, Scottish, Welsh
Publication Year2000
TypeTextbook
Subject AreaLiterary Criticism, Philosophy
AuthorTalia Schaffer
SeriesVictorian Literature and Culture Ser.
FormatTrade Paperback
Dimensions
Item Height0.8 in
Item Weight12.5 Oz
Item Length8.9 in
Item Width7.7 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN99-051322
ReviewsAbsorbing and provocative, Schaffer's 'mapping' of female aestheticism enhances and, indeed, transforms our comprehension of the fin de siecle. Her valuable recuperation of the work of aesthetic women reveals a rich material and literary culture integral to the aesthetic movement. Ranging from poetry to textiles and from Alice Meynell to Thomas Hardy, The Forgotten Female Aesthetes is attentive to the delightful and exasperating complexities of artistic production in this fertile and little-understood period.
TitleLeadingThe
Dewey Edition21
Grade FromCollege Graduate Student
Dewey Decimal820.9/11
SynopsisMost critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten. Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors. Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ram e), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations. Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history., Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten. Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors. Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations. Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history., In this text, Schaffer analyzes writers such as Lucas Malet, Ouida, Alice Meynell, Rosamund Marriott Watson and Una Ashworth Taylor. These women used aestheticism to forge a compromise between the two models of female identity available to them - the New Woman and the Angel in the House.
LC Classification NumberPR468.A33S33 2000
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