Posthumous Voice in Women's Writing from Mary Shelley to Sylvia Plath
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A01=Claire Raymond
Author_Claire Raymond
Belated Audience
Body's Beauty
Body’s Beauty
canonical literature studies
catcher
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Category=DSBH
Category=JBSF1
Cathy's Childhood
Cathy’s Childhood
Child Speaker
Christian Afterlife
dead
Dead Speaker
Death Lyrics
Dickinson's Poem
Dickinson’s Poem
elegiac tradition
elegy
Ellen Dean
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Father's Guilt
Father's Incestuous Desire
Father’s Guilt
Father’s Incestuous Desire
feminine
feminine self-elegy in English canon
Feminine Speaker
feminist literary theory
Incestuous Father
male
Male Elegy
metaphor
mourning and authorship
Nelly Dean
nineteenth-century poetry
Pastoral Elegy
paternal
Plath's Poem
plaths
Plath’s Poem
Posthumous Voice
rabbit
Rabbit Catcher
Rossetti's Poem
Rossetti's Speaker
Rossetti’s Poem
Rossetti’s Speaker
speaker
Traditional Elegy
Uphill Climb
Woman's Corpse
Woman’s Corpse
women's self-representation
Wuthering Heights
Product details
- ISBN 9780754655350
- Weight: 544g
- Dimensions: 156 x 234mm
- Publication Date: 28 Jun 2006
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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This provocative book posits a new theory of women's writing characterized by what Claire Raymond calls 'the posthumous voice.'This suggestive term evokes the way that women's writing both forefronts and hides the author's implied body within and behind the written work. Tracing the use of the disembodied posthumous voice in fiction and poetry by Mary Shelley, Emily Brontë, Emily Dickinson, and Sylvia Plath, Raymond's study sounds out the ways that the trope of the posthumous voice succeeds in negotiating the difficult cultural space between the concept of woman's body and the production of canonical literature. Arguing that the nineteenth-century cult of mourning opens to women's writing the possibility of a post-Romantic 'self-elegy,' Raymond explores how the woman writer's appropriation and alteration of elegiac conventions signifies and revises her disrupted relationship to audience. Theorizing the posthumous voice as a gesture by which the woman writer claims, and in some cases gains, canonicity, Raymond contends that the elegy posed as if written by a dead woman for herself both describes and subverts the woman writer's secondary status in the English canon. For the woman writer, the self-elegy permits access to a topos central to canonical literature, with the implementation of the trope of the posthumous voice marking a crucial site of woman's interaction with the English canon.
Dr Claire Raymond is an Independent Scholar from the USA.
