Opening with the revolution-era debates of the 1790s, "Borderlines"
reads Romantic genders across a mobile syntax, tuned to such
figures as the stylized "feminine" poetess, the aberrant
"masculine" woman, male poets deemed "feminine" or "unmanly," the
campy male "effeminate," and hapless or strategic cross-dressers of
both sexes. With fresh readings of the works, careers, and volatile
receptions of Mary Wollstonecraft, Felicia Hemans, M. J. Jewsbury,
Lord Byron, and John Keats, Susan Wolfson shows how senses (and
sensations) of gender shape and get shaped by sign systems that
prove arbitrary, fluid, and susceptible of lively transformation.
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