Marysa Demoor

De 6 bijdragen in deze bundel zijn alle geschreven vanuit een feministische invalshoek maar voor het overige heel heterogeen. Drie artikelen behandelen 1 tekst of het werk van één auteur: Oranges are not the only fruit van de Britse Jeanette Winterson, het gedicht 'Marriage' van de Amerikaanse Marianne Moore en het proza van de Oostenrijkse Friederike Mayröcker. Een vierde artikel verbindt Nathaniel Hawthorne, Kate Chopin en Jane Campion, terwijl een vijfde opstel het beeld van de spiegel onderzoekt in zowel de feministische theorievorming als boeken van Stevie Smith en Antonia White.

Five Essays on Women's Writings

Exploring Feminine Space

Their Fair Share identifies and contextualises many previously unknown critical writings by a selection of well-known turn-of-the-century women. It reveals the networks behind an influential journal like the Athenaeum and presents a more shaded assessment of its position in the field of cultural production, in the period 1870-1920. The Athenaeum (1828-1921) has often been presented as a monolithic institution offering its readers a fairly conservative, male oriented appreciation of a wide variety of contemporary publications. On the basis of archival and biographical material this book presents an entirely new analysis of the reviewing policy of this weekly from 1870, when it came into the hands of the politician Sir Charles Wentworth Dilke, up to and including 1919-1920 when John Middleton Murry became its editor. Dilke, and his editor Norman MacColl, are here revealed to have been committed feminists who enlisted some of the most influential women of their time as critics for their journal. The book looks more specifically at the contributions by, a.o., Millicent Garrett Fawcett, Emilia Dilke, Jane Harrison and Augusta Webster.

Women, Power and Criticism in the Athenaeum, from Millicent Garrett Fawcett to Katherine Mansfield, 1870-1920

Their Fair Share

Laurel Brake

A large-scale reference work covering the journalism industry in 19th-Century Britain.

Dictionary of Nineteenth-century Journalism in Great Britain and Ireland

Ingo Berensmeyer

Gert Buelens

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.

The Cambridge Handbook of Literary Authorship

Women, Power and Criticism in the Athenaeum, from Millicent Garrett Fawcett to Katherine Mansfield, 1870–1920

Sarah Posman

Cedric Van Dijck

The First World War changed the dynamics of the European intellectual landscape in terms of international collaboration, the development of disciplines, and new institutional visions. The conflict not only destroyed much of Europe's material cultural heritage, it also damaged the 19th-century humanist conception of the function of thought, and it problematised the position of the thinker in society. What is the intellectual's task in a time of destruction and death? This book spotlights the ways in which the war redrew the map of knowledge production and changed traditional paradigms, fundamentally altering the approach to intellectual work. Thinking became more democratic and specialised, with a range of voices tackling specific problems created by the war, but now more conspicuously related to particular causes. The focus on the viewpoints of the 1914-1918 intellectual cadre throws into perspective the ways in which the war changed the contents, methods, and organisation of intellectual work. Part One looks at the war as an object of study; Part Two explores the methodological challenges the war entailed; and Part Three sheds light on the ways in which the conflict and its aftermath redrew the map of collaborative intellectual networks. The case studies come from different disciplines and cover a range of contexts, from German engineering to British wartime periodicals. Revisiting the early 20th-century intellectual situation not only enriches our understanding of the dynamics of the Great War, it also assists in repositioning the role of the intellectual in the 21st century. [Subject: World War I, History, Intellectual History]

Marysa Demoor

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