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| Contributors | ||
| Acknowledgments | ||
| Introduction | 1 | |
| The Gush of the Feminine: How Can We Read Women's Poetry of the Romantic Period? | 13 | |
| Gendering the Soul | 33 | |
| Mary Shelley, Frankenstein, and the Woman Writer's Fate | 69 | |
| De-Romanticizing the Subject: Maria Edgeworth's "The Bracelets," Mythologies of Origin, and the Daughter's Coming to Writing | 88 | |
| "We Hoped the Woman Was Going to Appear": Repression, Desire, and Gender in Anna Letitia Barbauld's Early Poems | 113 | |
| Felicia Hemans and the Effacement of Woman | 138 | |
| Resurrection of the Fetish in Gradiva, Frankenstein, and Wuthering Heights | 150 | |
| Gender, Nationality, and Textual Authority in Lady Morgan's Travel Books | 171 | |
| Expanding the Limits of Feminine Writing: The Prose Sketches of Sydney Owenson (Lady Morgan) and Helen Maria Williams | 194 | |
| Janet Little and Robert Burns: The Politics of the Heart | 207 | |
| "Out of the Pale of Social Kindred Cast": Conflicted Performance Styles in Joanna Baillie's De Monfort | 223 | |
| The Gipsy Is a Jewess: Harriett Abrams and Theatrical Romanticism | 236 | |
| Mary Robinson and the Literary Marketplace | 252 | |
| Notes | 269 | |
| Index | 317 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Eric Gregg
reviewed Romantic Women Writers: Voices and Countervoices on January 01, 2019
Romantic Women Writers: Voices and Countervoices
Read only the Introduction, chps 1 and 2, and part of chp 3.
Re: Waugh at least, the book is more valuable as history and summary than original criticism. Although he marshals important and interesting work by others (Terry Eagleton, Raymond Williams), his own insights into Waugh's fiction are belabored (jargon, syntax) and ultimately unconvincing. He appears for instance to think that nuance is nothing more than self-contradiction (64; cf "schizophrenic incoherence" on 52), and he sees those whose work he studies -- Waugh, Strachey, Wilde -- as deconstructionists like himself.
On page 23 I imagined a killing look he'd have drawn from Virginia Woolf.
EDIT: I uncharitably forgot to mention that his analysis comes alive when discussing film.
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