"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria?   These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind.  This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.

Showalter's thoughtful, detailed introductory essay is a comprehensive analysis between Rosetti's novella and Craik's essays...the biographical portrait of Christina Rossetti's conflicts makes her a vivid example of the psychological and social barriers to the development of the female poets...her description of Dinah Mulock Craik stressed this woman's common-sense approach to ameliorating the position of the working-class woman in society...useful to students of feminist theory and of Victorian literature.
--"Academic Library Book Review"

Cristina Rossetti was nineteen years old when she wrote Maude: Prose and Verse in 1850. Clearly autobiographical, the novel examines the heroine's endeavor to resist the notion that modesty, virtue and domesticity constitute the sole duties of womanhood.

For the precocious young poet, the work was only one of several projects of her teens. Growing up in London as the youngest child in a gifted and unusual family of artists and writers, Rossetti had early developed a poetic vocation. But by the time she wrote "Maude," the lively, passionate, and adventurous little girl who had hated needlework, delighted in fiercely competitive games of chess, and explored the country with her brothers became a painfully constrained, sickly, and over-scrupulous teenager. "Maude" makes clear that at least some of Rossetti's affliction came from anxieties about poetic achievement, her wishes both to be admired for her genius and to renounce it as unfeminine. Often overshadowed by her brother Dante Gabriel Rossetti, Christina struggled to express her own independent authorial voice, and to resist a life bound by the constraints and demands of the traditional female role.

Other late Victorian attitudes towards Anglican women's communities are brought out in "On Sisterhoods" by Dinah Mulock Craik which appeared in Longman's magazine in 1883. Craik herself worked on the literary border between feminine gentility and feminist rebellion. In 1850, when Christina Rossetti was writing "Maude" within the confines of her family, Dinah Mulock was supporting herself and her two younger brothers by her pen. "On Sisterhoods" confronts head-on the woman question.' Asserting that women's role is to find beauty in their lives through altruism and good works--to be more or less good women'--Craik provides a radical solution to the woman question' by advocating the encouragement of Anglican sisterhoods, effectively women's co-operatives. For her, the strongest argument for such a sisterhood is the alternative life it offers to single women, with no outlets for their maternal emotions.

The third text presented here, Craik's "A Woman's Thoughts About Women," was a widely circulated manual of advice on female self-sufficiency for unmarried women, based on her own experience in a family left destitute by an eccentric father when she was nineteen. It addressed a pressing contemporary problem: the large number of urban single women who were well educated and qualified but for whom traditional employment offered no place. Craik understood that independence would come hard to middle-class women, yet she was optimistic about the ways women might re-educate themselves, abandoning false pride and learning to manage small businesses or conduct trades.

Throughout her career, Craik masked her private feminist views with disdain for women's rights and criticism of women's public activism. Unmarried and self-supporting until the age of forty, she wrote about the problems of single and working women in over fifty popular novels, children's stories and collections of essays.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

'I'm not afraid of storms, for I'm learning how to sail my ship.' Meg, Jo, Amy and Beth - four "little women" enduring hardships and enjoying adventures in Civil War New England The charming story of the March sisters, Little Women has been adored by generations. Readers have rooted for Laurie in his pursuit of Jo's hand, cried over little Beth's death, and dreamed of travelling through Europe with old Aunt March and Amy. Future writers have found inspiration in Jo's devotion to her writing. In this simple, enthralling tale, both parts of which are included here, Louisa May Alcott has created four of American literature's most beloved women. The Penguin English Library - collectable general readers' editions of the best fiction in English, from the eighteenth century to the end of the Second World War.

Drawing on a wide range of writers and texts, Elaine Showalter argues that post-colonial as well as feminist literary theory can help us understand the complex forms of American women's wriitng, and the way that `women's culture' intersects with other cultural forms.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

In this informative, timely and often harrowing study, Elaine Showalter demonstrates how cultural ideas about 'proper' feminine behaviour have shaped the definition and treatment of female insanity for 150 years, and given mental disorder in women specifically sexual connotations. Along with vivid portraits of the men who dominated psychiatry, and descriptions of the therapeutic practices that were used to bring women 'to their senses', she draws on diaries and narratives by inmates, and fiction from Mary Wollstonecraft to Doris Lessing, to supply a cultural perspective usually missing from studies of mental illness. Highly original and beautifully written, The Female Malady is a vital counter-interpretation of madness in women, showing how it is a consequence of, rather than a deviation from, the traditional female role.

Meg, Jo, Amy and Beth - four "little women" enduring hardships and enjoying adventures in Civil War New England The charming story of the March sisters, Little Women has been adored by generations. Readers have rooted for Laurie in his pursuit of Jo's hand, cried over little Beth's death, and dreamed of traveling through Europe with old Aunt March and Amy. Future writers have found inspiration in Jo's devotion to her writing. In this simple, enthralling tale, both parts of which are included here, Louisa May Alcott has created four of American literature's most beloved women. In her enlightening, thoughtful introduction, Elaine Showalter discusses Louisa May Alcott's influences, and her aspirations for Little Women, as well as the impact the novel has had on such women writers as Joyce Carol Oates and Cynthia Ozick.

'One of the most moving, revolutionary artworks of the twentieth century' Michael Cunningham Clarissa Dalloway, elegant and vivacious, is preparing for a party and remembering those she once loved. In another part of London, Septimus Warren Smith is suffering from shell-shock and on the brink of madness. Smith's day interweaves with that of Clarissa and her friends, their lives converging as the party reaches its glittering climax. Virginia Woolf's masterly novel, in which she perfected the interior monologue, brings past, present and future together on one momentous day in June 1923. Edited by Stella McNichol with an Introduction and Notes by Elaine Showalter.

"I have been a character in academic fiction at least twice," Elaine Showalter writes, "once a voluptuous, promiscuous, drug-addicted bohemian, once a prudish, dumpy, judgmental frump. I hope I am not too easily identified in either of these guises . . . although I can tell you that I preferred being cast as the luscious Concord grape to my role as the withered prune." In the days before there were handbooks, self-help guides, or advice columns for graduate students and junior faculty, there were academic novels teaching us how a proper professor should speak, behave, dress, think, write, love, and (more than occasionally) solve murders. If many of these books are wildly funny, others paint pictures of failure and pain, of lives wasted or destroyed. Like the suburbs, Elaine Showalter notes, the campus can be the site of pastoral and refuge. But even ivory towers can be structurally unsound, or at least built with glass ceilings. Though we love to read about them, all is not well in the faculty towers, and the situation has been worsening. In Faculty Towers, Showalter takes a personal look at the ways novels about the academy have charted changes in the university and society since 1950. With her readings of C. P. Snow's idealized world of Cambridge dons, the globe-trotting antics of David Lodge's Morris Zapp, the sleuthing Kate Fansler in Amanda Cross's best-selling mystery series, or the recent spate of bitter novels in which narratives of sexual harassment seem to serve as fables of power, anger, and desire, Showalter holds a mirror up to the world she has inhabited over the course of a distinguished and often controversial career.

The fascinating letters between Vera Brittain and Winifred Hotlby, written from 1920 to 1935, tell the story of an extraordinary friendship that created a model for a new kind of independent woman, after the First World War. This is a literary relationship that began when the women met at Somerville, Cambridge and lasted until Winifred's early death at the age of 35. The letters that kept Vera Brittain and Winifred 'continuously together' shows us the inner life of two women who wished to make their mark on the world. They wrote about their ambitions and encouraged and advised each other. But there were also periods when they were literary rivals (Winifred landed a book deal first) and the letters show them negotiating envy and self-doubt. It was at times an uneven relationship: Vera, five years older, married and had two children during this period, and her Testament of Youth became a bestseller, while Winifred remained a single woman with an adventurous spirit that took her travelling and as one of Holtby's characters says in her famous novel, South Riding: 'I am spinster and I am going to spin!' Vera helped Winifred form her ideology - 'You made me' and Winifred shored up Vera, including managing her husband and children (who were devoted to Winifred) and was Vera's intellectual sounding board. A social history, a portrait of a time between the wars and a dramatic, touching story, it has all the hallmarks of honest female friendship: one not without friction and with its own delicate co-dependency but it was life enhancing and life changing for them both. After Winifred's death Vera said of their letters that they showed 'that loyalty and affection between women - not only unsung but mocked, belittled - is a noble relationship.'

In France between 1641 and 1782 the romance developed into the novel. Mr. Showalter's intensive study of the novel, particularly during the critical period 1700-1720, shows that an important movement toward nineteenth century realism was taking place. To trace this development the author has selected five phenomena--time, space, names, money, and the narrator--and follows their treatment throughout the period to show why romance tended toward the novel. To show the working-out of these ideas there is a detailed analysis of one novel, Robert Challe's Les Illustres Francoises, which can be precisely located in the chain of literary influence. Its central theme of the individual in conflict with society was well suited to the forms available to the eighteenth century novelist. Consequently it appears repeatedly in important novels of the period, showing that the evolutionary process worked to some degree even on subject matter. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

At the turn of the century, short stories by- and often about- 'New Women' flooded the pages of English and American magazines like The Yellow Book, The Savoy, Atlantic Monthly and Harpers. This daring new fiction, often innovative in form, and courageous in its candid literary aspiration, shocked Victorian critics who parodied the experimental stories in Punch as symptoms of fin de siecle decadence, or denounced the authors as 'literary degenerates' or 'erotomaniacs.' This collection brings together twenty of the most original and important stories, including such little-known writers as Victoria Cross, George Egerton, Vernon Lee, Constance Fenimore Wollson and Charlotte Mew. Ranging from the lyrical to the Gothic, and frequently dealing with the conflicts of women artists, the short fiction of the fin de siecle is the missing link between the Golden Age of Victorianism women writers and the new era of feminist modernism.

`It was not so much his great height that marked him ... it was the careless powerful look that he had, in spite of a lameness checking each step like the jerk of a chain.' Set against the bleak winter landscape of New England, Ethan Frome tells the story of a poor farmer, lonely and downtrodden, his wife Zeena, and her cousin, the enchanting Mattie Silver. In the playing out of this short novel's powerful and engrossing drama, Edith Wharton constructed her least characteristic and most celebrated book. In its unyielding and shocking pessimism, its bleak demonstration of tragic waste, it is a masterpiece of psychological and emotional realism. In her introduction the distinguished critic Elaine Showalter discusses the background to the novel's composition and the reasons for its enduring success. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Part of Penguin's beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. Meg, Jo, Amy and Beth - four "little women" enduring hardships and enjoying adventures in Civil War New England The charming story of the March sisters, Little Women has been adored by generations. Readers have rooted for Laurie in his pursuit of Jo's hand, cried over little Beth's death, and dreamed of traveling through Europe with old Aunt March and Amy. Future writers have found inspiration in Jo's devotion to her writing. In this simple, enthralling tale, both parts of which are included here, Louisa May Alcott has created four of American literature's most beloved women.

The novel that first made Willa Cather famous--a powerfully mythic tale of the American frontier told through the life of one extraordinary woman--in a handsome hardcover volume.
No other work of fiction so vividly evokes the harsh beauty and epic sweep of the Nebraska prairies that Cather knew and loved. The heroine of "O Pioneers , "Alexandra Bergson, is a young Swedish immigrant at the turn of the twentieth century who inherits her father's windblasted land and, through years of hard work, turns it into a prosperous farm. Fiercely independent, Alexandra sacrifices love and companionship in her passionate devotion to the land, until tragedy strikes and brings with it the chance for a new life.
One of our most beloved classics, one of the great heroines of American literature.

In France between 1641 and 1782 the romance developed into the novel. Mr. Showalter's intensive study of the novel, particularly during the critical period 1700-1720, shows that an important movement toward nineteenth century realism was taking place. To trace this development the author has selected five phenomena--time, space, names, money, and the narrator--and follows their treatment throughout the period to show why romance tended toward the novel. To show the working-out of these ideas there is a detailed analysis of one novel, Robert Challe's Les Illustres Francoises, which can be precisely located in the chain of literary influence. Its central theme of the individual in conflict with society was well suited to the forms available to the eighteenth century novelist. Consequently it appears repeatedly in important novels of the period, showing that the evolutionary process worked to some degree even on subject matter. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

When first published in 1982, A LITERATURE OF THEIR OWN quickly set the stage for the creative explosion of feminist literary studies that transformed the field in the 1980s. Launching a major new area for literary investigation, the book uncovered the long but neglected tradition of women writers and the development of their fiction from the 1800s onwards. It includes assessments of famous writers such as the Brontes, George Eliot, Virginia Woolf, Margaret Drabble and Doris Lessing, but also presents critical appraisals of Mary Braddon, Rhoda Broughton and Sarah Grand - to name but a few of those prolific and successful Victorian novelists - once household names, now largely forgotten. This edition, revised and expanded in 1997, contains an introductory chapter surveying the book's reception as well as a postscript chapter celebrating the legacy of feminism and feminist criticism in the efflorescence of contemporary British fiction by women.

When first published in 1977, "A Literature of Their Own" quickly set the stage for the creative explosion of feminist literary studies that transformed the field in the 1980s. Launching a major new area for literary investigation, the book uncovered the long but neglected tradition of women writers in England. A classic of feminist criticism, its impact continues to be felt today.

This revised and expanded edition contains a new introductory chapter surveying the book's reception and a new postscript chapter celebrating the legacy of feminism and feminist criticism in the efflorescence of contemporary British fiction by women.

An unprecedented literary landmark: the first comprehensive history of American women writers from 1650 to the present.
In a narrative of immense scope and fascination, here are more than 250 female writers, including the famous--Harriet Beecher Stowe, Dorothy Parker, Flannery O'Connor, and Toni Morrison, among others--and the little known, from the early American bestselling novelist Catherine Sedgwick to the Pulitzer Prize-winning playwright Susan Glaspell. Showalter integrates women's contributions into our nation's literary heritage with brilliance and flair, making the case for the unfairly overlooked and putting the overrated firmly in their place.

One of the great novels of American girlhood, Jean Webster's Daddy-Long-Legs (1912) follows the adventures of an orphan named Judy Abbott, whose letters to her anonymous male benefactor trace her development as an independent thinker and writer. Its sequel, Dear Enemy (1915), follows the progress of Judy's former orphanage, now run by her friend Sallie McBride, who struggles to give her young charges hope and a new life. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

These fascinating letters between Vera Brittain and Winifred Holtby tell the story of an extraordinary friendship. 'A beautiful collection' Daisy Dunn, Sunday Times 'Completely fascinating' Rachel Cooke, Observer 'Lively, perceptive and immaculately edited' Miranda Seymour, Literary Review 'A moving, unvarnished chronicle of intellectual comradeship' Sarah Watling, Telegraph A literary relationship that began when the women met at Somerville College, Oxford, in 1919, it lasted until Winifred's early death at the age of thirty-seven. The letters, written from 1920 to 1935, kept them 'continuously together', and show us the life of two pioneers who wished to make their mark as writers and campaigners. Each encouraged and advised the other. However, there were periods when they were literary rivals. Winifred landed a book deal first; Vera produced an international bestseller with Testament of Youth; and the letters show them negotiating envy and self-doubt. It was at times an uneven relationship: Vera, more than four years older, was married and had two children during this period, while Winifred, a single woman with an adventurous spirit, travelled and made a wide range of friends. As the heroine of her novel South Riding says, 'I was born to be a spinster and by God, I'm going to spin!' Vera decisively influenced Winifred's passion for feminism and peace; 'You made me,' Winifred told her. In turn, Winifred, who took care of Vera's children and placated her husband, gave Vera crucial intellectual and emotional support, fiercely believing in her literary gifts. A portrait of the inter-war years and a dramatic, touching and ultimately tragic story, the letters have the hallmarks of honest female friendship: not without friction and with its own delicate co-dependency, but life-changing for them both.