Titlebook: Women of Faith in Victorian Culture; Reassessing the ‘Ang Anne Hogan,Andrew Bradstock Book 1998 Palgrave Macmillan, a division of Macmillan

NEX

Heroines of Missionary Adventure: The Portrayal of Victorian Women Missionaries in Popular Fiction and to be his fellow-missionary to India stems not from any serious questioning of missionary aims and methods, but rather from a deep unease about the demands placed upon women by patriarchal Christianity in one of its most imperious nineteenth-century manifestations.. For the cold, stern and self-

Jingoism

,The Victorian Lady’s Domestic Threat: The Good, the Bad and the Indifferent Female Adversary in Conthe formidable foes of the aesthetic female and the decadent modern or New Woman during the last quarter of the century. In the realm of art, all three simultaneously coexisted, although it was the Victorian lady who triumphed in typology, popularity and sheer numbers. The apex of this ideal female

胰島素

,The Power of Womanhood — Religion and Sexual Politics in the Writings of Ellice Hopkins,from London music halls notorious for their promotion of morally dubious entertainment. Entitled ‘Prudes on the Prowl’, the series was a hostile parody of the sexual prurience of the evangelical campaign for social purity — an organization which, according to the satirical ., was dominated by the in

調(diào)味品

庇護(hù)

Quiet Angels: Some Women Hymn Writers,led herself ‘Theodosia’ to indicate her sex, and whose two volumes were prefaced with engravings making it clear that a woman was writing (even if the poems themselves do not discuss the problems of woman’s writing as, say, those of Anne Finch or Mary Leapor do). A nineteenth-century writer described her thus:

松果

heckle

https://doi.org/10.1007/978-1-349-26749-1culture; drama; fiction; gender; novel; religion; women

Ruptured-Disk

Angel or Eve?: Victorian Catholicism and the Angel in the House,The influence of the conflicting and contradictory Victorian imagery for women — Angel in the House or Eve, sexual temptress — is evident in George Moore’s presentation of Evelyn Innes, an acclaimed opera singer, as illustrated in this scene where she is about to sing Cherubini’s .:

招待

extinguish