Titlebook: British Women‘s Writing from Bront? to Bloomsbury, Volume 2; 1860s and 1870s Adrienne E. Gavin,Carolyn W. de la L. Oulton Book 2020 The Edi

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Pantelitsa Yerimou,Christos Themistocleousestion acts of interpretation, their own and those of her characters and narrators. Both the silent gaps between part publication of these novels and the unworded interactions of her characters scramble our interpretative mechanisms. Purposeful silences, these structural and narrative acts, are Elio

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https://doi.org/10.1007/978-1-4615-2087-0d middle-class’ they offer an insightful social commentary to scholars of Victorian fiction. Hunt uses the medium of dress to explore anxieties of class and gender with particular reference to Wood’s use of a male narrator and pseudonym. Wood’s decision to adopt a male narrator jars against the freq

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conference

Promotion Policy and Managementd Lucilla Evans, a textbook hysteric who falls in love with her. Whereas in many contemporary novels masculine women are feared and derided as vectors of lesbian contagion, Leona is portrayed as an entirely sympathetic character. Through Leona, Marryat allows women a greater range of sexual expressi

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Marketing and Corporate Strategys of her life, broke literary gender barriers by focusing on working horses, and wrote with acute topicality on equine concerns when Britain’s demand for horsepower was at its height and various forms of equine?cruelty were pervasive. As Gavin shows, . also drew on the sensual techniques of sensatio

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Organisational Buying Behaviour, press. Focusing on . (1874), . (1879), ‘Dr. Carrick’ (1878), and ‘Mr. and Mrs. de Fontenoy’ (1870), the chapter examines how Braddon updates the representation of the position of women and criminal activities of her 1860s sensation fictions in line with the changing historical context of the first

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‘[S]mothered under rose-leaves’: Violent Sensation and the Location of the Feminine in Eliza Lynn Li in the . in the early 1860s. Yet like other women authors of the decade, she was alert to the new challenges posed by sensation fiction. . (1867) adapts the sensational mode in unsettling ways, using it to test traditional gender roles in the context of betrayal and marital breakdown.

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