Accompanying a major exhibition at Philip Mould & Company, Without Hands: The Art of Sarah Biffin presents the work of the remarkable 19th-century disabled artist who has been largely overlooked by art historians. This book and exhibition celebrate her art, life and legacy. Sarah Biffin (1784–1850) came from humble origins yet rose to fame in the 19thcentury as an exceptionally talented miniaturist. As a working-class, disabled female artist, her artworks – many proudly signed “without hands” – are a testament to her talent and life-long determination. Despite her prolific artistic output, Biffin’s life and work has been largely overlooked by art historians – until now. Sarah Biffin was born with the condition ‘phocomelia’, described on her baptism record as ‘born without arms and legs’. She spent her childhood in her family home where she learnt to sew and write. Biffin was later contracted to Mr Dukes, who ran a travelling sideshow, where Biffin would write and paint in front of an audience. The crowds who turned up left with a sample of her writing included in the cost of their ticket. In her mid-twenties she began formal tuition with a miniature painter, William Marshall Craig, and from 1816 she set herself up as an independent artist. Biffin travelled extensively, exhibiting her artwork and taking commissions all over the country, before finally settling in Liverpool. Throughout her long and successful career, she took commissions from nobility and royalty, and recorded her own likeness across the years through exquisitely detailed self-portraits. Working closely with the project’s advisor – artist Alison Lapper MBE (born with the same condition as Sarah Biffin 180 years later) – and consultant and contributor – Professor Essaka Joshua (specialist in Disability Studies at the University of Notre Dame, Indiana) – this publication and exhibition seek to celebrate Biffin as a disabled artist who challenged contemporary attitudes to disability. It is fully illustrated and includes original research.

This title was published in 2001. Pygmalion and Galatea presents an account of the development of the Pygmalion story from its origins in early Greek myth until the twentieth century. It focuses on the use of the story in nineteenth-century British literature, exploring gender issues, the nature of artistic creativity and the morality of Greek art.

This title was published in 2001. Pygmalion and Galatea presents an account of the development of the Pygmalion story from its origins in early Greek myth until the twentieth century. It focuses on the use of the story in nineteenth-century British literature, exploring gender issues, the nature of artistic creativity and the morality of Greek art.

This important contribution to both Romantic and cultural studies situates literature by Wordsworth, Southey, Hunt, Clare, and Blake within the context of folklore and popular customs associated with May Day. Romantic responses to May Day bring into focus a range of issues now regarded as central to the writing of the period - the natural world, city life, the pastoral, regional and national identities, popular culture, cultural degeneration, and cultural difference. Essaka Joshua explores new connections between these issues in the context of a set of heterogeneous cultural practices that are rooted in the traditions and activities of diverse social groups. She shows how Romantic writers have positioned themselves in relation to what has become known as the public sphere, and the way in which they articulate an understanding of the common sphere as a site of plebeian self-expression. Joshua's nuanced account acknowledges the full complexity of class formations and inter-class relationships and permits noncanonical and canonical texts such as the Prelude, Songs of Innocence and Experience, and 'The Village Minstrel' to be reinterpreted in a cultural context that has not been previously explored by literary critics.

The modern concept of disability did not exist in the Romantic period. This study addresses the anachronistic use of 'disability' in scholarship of the Romantic era, providing a disability studies theorized account that explores the relationship between ideas of function and aesthetics. Unpacking the politics of ability, the book reveals the centrality of capacity and weakness concepts to the egalitarian politics of the 1790s, and the importance of desert theory to debates about sentiment and the charitable relief of impaired soldiers. Clarifying the aesthetics of deformity as distinct from discussions of ability, Joshua uncovers a controversy over the use of deformity in picturesque aesthetics, offers accounts of deformity that anticipate recent disability studies theory, and discusses deformity and monstrosity as a blended category in Frankenstein. Setting aside the modern concept of disability, Joshua cogently argues for the historical and critical value of period-specific terms.

The modern concept of disability did not exist in the Romantic period. This study addresses the anachronistic use of 'disability' in scholarship of the Romantic era, providing a disability studies theorized account that explores the relationship between ideas of function and aesthetics. Unpacking the politics of ability, the book reveals the centrality of capacity and weakness concepts to the egalitarian politics of the 1790s, and the importance of desert theory to debates about sentiment and the charitable relief of impaired soldiers. Clarifying the aesthetics of deformity as distinct from discussions of ability, Joshua uncovers a controversy over the use of deformity in picturesque aesthetics, offers accounts of deformity that anticipate recent disability studies theory, and discusses deformity and monstrosity as a blended category in Frankenstein. Setting aside the modern concept of disability, Joshua cogently argues for the historical and critical value of period-specific terms.