Bachelor Thesis from the year 2013 in the subject History Europe - Other Countries - Modern Times, Absolutism, Industrialization, grade: 1,0, Friedrich-Alexander University Erlangen-Nuremberg, language: English, abstract: The aim of this paper is to outline the complexity of the representations of the ‘fallen woman.’ All representations involved the fear of deviancy and the attempt to preserve the social and moral order. However, the strategies to deal with the ‘problem’ called ‘fallen woman’ were divergent. This paper is structured along modern forms of thinking. In Victorian times the differentiation of the religious, medical, judicial and literary fields was not as clear-cut as it is today. For this reason, the primary texts selected for the distinctive chapters might appear to belong to several discourses, not just the one assigned to them. It will become evident that the discourses on the ‘fallen woman’ reveal similar representations as well as contradictory ones. Even though the structure proposes the separation of the representations as victim and as threat, there are overlaps and the distinctions are not as definite as the outline suggests. In order to demonstrate basic ideas about the ‘fallen woman,’ there will be a strong focus on the female prostitute. Many aspects of the discourse on the ‘fallen woman’ become clear when looking at the topic of prostitution, which was thematized in Victorian culture and politics. Moreover, the term ‘stereotype’ will play a major role in this analysis.
A sympathetic view of the fallen women in Victorian England begins in the novel. First published in 1984, this book shows that the fallen woman in the nineteenth-century novel is, amongst other things, a direct response to the new society. Through the examination of Dickens, Gaskell, Collins, Moore, Trollope, Gissing and Hardy, it demonstrates that the fallen woman is the first in a long line of sympathetic creations which clash with many prevailing social attitudes, and especially with the supposedly accepted dichotomy of the ‘two women’. This book will be of interest to students of nineteenth-century literature and women in literature.
Harry Montague must discover the truth about his family's missing heir—for better or worse. But his thoughts are sidetracked from the moment he first sees Elena Ruiz, beautiful and fierce in her bright red dress. She's innocent, yet Spanish society has condemned her. Harry can help this woman in need with the security of a marriage made on paper—but nothing more. For his heart is armoured by pain and regret from the past. And yet soon he finds himself fighting an unexpected longing for his new wife that grows each day...
Logan's study is distinguished by its exclusive focus on women writers, including Charlotte Bronte, George Eliot, Elizabeth Gaskell, Harriet Martineau, Elizabeth Barrett Browning, Florence Nightingale, Sarah Grand, and Mary Prince. Logan utilizes primary texts from these Victorian writers as well as contemporary critics such as Catherine Gallagher and Elaine Showalter to provide the background on social factors that contributed to the construction of fallen-woman discourse.
Contributors examine the literature that challenges widely held assumptions about the form of the family, familial authority patterns, and the function of courtship, marriage, and family life from the late eighteenth century to the present day. Topics include: the family as a microcosm of the larger political sphere in Charlotte Smith, Jane West, Elizabeth Fenwick, Mrs. Opie, and Mary Shelley, and alternatives to the nuclear patriarchal family in Charlotte Bront�, Harriet Jacobs, Elizabeth Barrett Browning, and Mary Louisa Molesworth.
Genre, Nationalism and Desire in Nineteenth-Century Literature
Author: Bianca Tredennick
Category: Literary Criticism
Proposing the concept of transformation as a key to understanding the Victorian period, this collection explores the protean ways in which the nineteenth century conceived of, responded to, and created change. The volume focuses on literature, particularly issues related to genre, nationalism, and desire. For example, the essays suggest that changes in the novel's form correspond with shifting notions of human nature in Victor Hugo's Notre-Dame de Paris; technical forms such as the villanelle and chant royal are crucial bridges between Victorian and Modernist poetics; Victorian theater moves from privileging the text to valuing the spectacles that characterized much of Victorian staging; Carlyle's Past and Present is a rallying cry for replacing the static and fractured language of the past with a national language deep in shared meaning; Dante Gabriel Rossetti posits unachieved desire as the means of rescuing the subject from the institutional forces that threaten to close down and subsume him; and the return of Adelaide Anne Procter's fallen nun to the convent in "A Legend of Provence" can be read as signaling a more modern definition of gender and sexuality that allows for the possibility of transgressive desire within society. The collection concludes with an essay that shows neo-Victorian authors like John Fowles and A. S. Byatt contending with the Victorian preoccupations with gender and sexuality.
This illustrated book focuses on the Pre-Raphaelite artists and their radical departure from artistic conventions. Barringer explores the meanings encoded in Pre-Raphaelite paintings and analyses key pictures and their significance within the complex social and cultural matrix of 19th century Britain.