Little Songs: Women, Silence, and the Nineteenth-century Sonnet
Ohio State University Press, 2007 - 199 páginas
In Little Songs: Women, Silence, and the Nineteenth-Century Sonnet, Amy Christine Billone analyzes the bond between lyric poetry and silence in women¿s sonnets ranging from the late eighteenth-century works of Charlotte Smith, Helen Maria Williams, and Anna Maria Smallpiece to Victorian texts by Elizabeth Barrett, Christina Rossetti, Isabella Southern, and other, lesser-known female poets. Although scholars acknowledge that women initiated the sonnet revival in England, Little Songs is the only major study of nineteenth-century female sonneteers. Billone argues not that women¿s sonnets overcame silence in favor of lyrical speech during the nineteenth-century sonnet revival, but rather that women simultaneously posited both muteness and volubility through style and theme. In opposition to criticism that stresses a modern shift from compensatory to non-consolatory poems of mourning, Billone demonstrates how women invented contemporary elegiac poetics a century in advance. Adding to critical interest in the alliance between silence and literature, this book offers a complex study of the overwhelming impact that silence makes, not only on British women¿s poetry, but also on the development of modern poetry and intellectual inquiry. Ultimately, Little Songs illustrates how the turn away from the kind of silence that preoccupied nineteenth-century women poets introduced the start of twentieth-century thought.
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Breaking the Silent Sabbath of the Grave Romantic Womens Sonnets and the Mute Arbitress of Grief
In Silence like to Death Elizabeth Barrets Sonnet Turn
Sing Again Christina Rossetti and the Music of Silence
Silence Tis More Cruel than the Gravel Isabella Southern and the Turn to the Twentieth Century
Womens Renunciation of the Sonnet Form
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addressee amatory Anna Maria Smallpiece argues autobiographical Barrett Browning’s Barrett’s sonnet beloved biographical Bowles Bowles’s brother’s century chapter Charlotte Smith Christina Rossetti Coleridge’s critics critique Dante Gabriel dead death Dora Greenwell echoes edited Elegiac Sonnets Elizabeth Barrett Browning femininity feminized flowers gender Glenmorris Gray’s Greenwell Greenwell’s grieving hand Haydon heart Helen Maria Williams hopeless grief Isabella Southern italics language Leighton life’s literary Little Songs lyric male Mary Russell Mitford masculine Michael Field Mitford Monna Innominata mourning nineteenth-century women octave Past and Future personifications Petrarch Phelan poem’s poems poet’s poetic Portuguese quatrain readers references rhyme scheme Robert Browning role Romantic Rossetti’s sonnets secret seems sestet silence sing Smallpiece’s Smith’s sonnets Sonnet 27 Sonnet 44 Sonnet 85 Sonnet 9 sonnet form sorrow speak speaker speaker’s identity speech sublime tears tercet thee thou tion University Press Victorian voice weep Williams’s woman women poets women’s sonnets words Wordsworth’s writing