Political Poetess
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A01=Tricia Lootens
Abjection
Abolitionism
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African Americans
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Anne K. Mellor
Apotheosis
Aurora Leigh
Author_Tricia Lootens
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Christina Rossetti
Close reading
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Criticism
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Despair (novel)
Elizabeth Barrett Browning
Elizabeth Bishop
Emily Dickinson
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Felicia Hemans
Femininity
Feminism
Feminism (international relations)
Feminist literary criticism
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George Eliot
Harriet Martineau
Haunting (video game)
Hypocrisy
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Injunction
Iola Leroy
Irony
Isobel Armstrong
Lady Lazarus
Language_English
Lauren Berlant
Letitia Elizabeth Landon
Literature
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Pacifism
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Phillis Wheatley
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Poetry
Politics
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Print culture
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Racism
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Romanticism
Rudyard Kipling
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Sentimentality
Separate spheres
Slavery
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Sophocles
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Suffrage
Susan Gubar
Sylvia Plath
The Angel in the House
Three Guineas
Victorian era
Virginia Woolf
Warfare
Woolf
Writer
Writing
Product details
- ISBN 9780691170312
- Weight: 624g
- Dimensions: 152 x 235mm
- Publication Date: 20 Dec 2016
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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The Political Poetess challenges familiar accounts of the figure of the nineteenth-century Poetess, offering new readings of Poetess performance and criticism. In performing the Poetry of Woman, the mythic Poetess has long staked her claims as a creature of "separate spheres"--one exempt from emerging readings of nineteenth-century women's political poetics. Turning such assumptions on their heads, Tricia Lootens models a nineteenth-century domestic or private sphere whose imaginary, apolitical heart is also the heart of nation and empire, and, as revisionist histories increasingly attest, is traumatized and haunted by histories of slavery. Setting aside late Victorian attempts to forget the unfulfilled, sentimental promises of early antislavery victories, The Political Poetess restores Poetess performances like Julia Ward Howe's "Battle Hymn of the Republic" and Emma Lazarus's "The New Colossus" to view--and with them, the vitality of the Black Poetess within African-American public life.
Crossing boundaries of nation, period, and discipline to "connect the dots" of Poetess performance, Lootens demonstrates how new histories and ways of reading position poetic texts by Felicia Dorothea Hemans, Elizabeth Barrett Browning, Dinah Mulock Craik, George Eliot, and Frances E. W. Harper as convergence points for larger engagements ranging from Germaine de Stael to G.W.F. Hegel, Virginia Woolf, Elizabeth Bishop, Alice Walker, and beyond.
Tricia Lootens is associate professor of English and Josiah Meigs Distinguished Teaching Professor at the University of Georgia. She is the author of Lost Saints: Silence, Gender, and Victorian Literary Canonization.
