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Katherine Philips (1632-1664) is widely regarded as a pioneering
figure within English-language women's literary history. Best known
as a poet, she was also a skilled translator, letter writer and
literary critic whose subjects ranged from friendship and
retirement to politics and public life. Her poetry achieved a high
reputation among coterie networks in London, Wales and Ireland
during her lifetime, and was published to great acclaim after her
death. The present volume, drawing on important recent research
into her early manuscripts and printed texts, represents a new and
innovative phase in Philips's scholarship. Emphasizing her literary
responses to other writers as well as the ambition and
sophistication of her work, it includes groundbreaking studies of
her use of form and genre, her practices as a translator, her
engagement with philosophy and political theory, and her
experiences in Restoration Dublin. It also examines the posthumous
reception of Philips's poetry and model theoretical and digital
humanities approaches to her work. This book was originally
published as two special issues of Women's Writing.
Katherine Philips (1632-1664) is widely regarded as a pioneering
figure within English-language women's literary history. Best known
as a poet, she was also a skilled translator, letter writer and
literary critic whose subjects ranged from friendship and
retirement to politics and public life. Her poetry achieved a high
reputation among coterie networks in London, Wales and Ireland
during her lifetime, and was published to great acclaim after her
death. The present volume, drawing on important recent research
into her early manuscripts and printed texts, represents a new and
innovative phase in Philips's scholarship. Emphasizing her literary
responses to other writers as well as the ambition and
sophistication of her work, it includes groundbreaking studies of
her use of form and genre, her practices as a translator, her
engagement with philosophy and political theory, and her
experiences in Restoration Dublin. It also examines the posthumous
reception of Philips's poetry and model theoretical and digital
humanities approaches to her work. This book was originally
published as two special issues of Women's Writing.
'Early modern women's manuscript poetry' is an anthology of texts
by fourteen women poets writing between 1589 and 1706. It is the
only currently available anthology of early modern women's writing
which focuses exclusively on manuscript material. Authors include
Mary Sidney, Lucy Hutchinson and Katherine Philips; central figures
in the emerging canon of early modern women writers, but whose work
appears in a fresh and very different light in the manuscript
context emphasised by this anthology. The volume also includes
substantial excerpts from a recently discovered verse paraphrase of
Genesis, thought to be by the previously unknown
seventeenth-century writer Mary Roper, as well as selections from
the unjustly neglected poet, Hester Pulter. The mix of canonical
and non-canonical writers makes this book ideal for use on
undergraduate and early postgraduate courses, while specialists
will be particularly interested in the sophisticated and varied
material taken from less familiar sources. -- .
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A Christmas Carol (Paperback)
Charles Dickens; Introduction by Gillian Wright
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R402
R352
Discovery Miles 3 520
Save R50 (12%)
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Ships in 10 - 15 working days
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A gross miscarriage of justice! Was the barbaric execution of this
15yr old pauper apprentice girl in 1782, in rural South Devon, a
true story based on well researched sources, thus? Tracing through
all the historic evidence I can find, together with some
conjecture, I have endeavoured to put together the events leading
up to this awful punishment carried out during the period known as
'enlightened' in England in the 18th century. Was Rebecca, born at
the very bottom of the rung, in the wrong place at the wrong time?
This is her story, as I see it.
This revisionist study of Restoration literature and culture
demonstrates how important the decades between 1660 and 1700 were
in transforming, enlarging and diversifying English-language
poetry. Wright challenges the longstanding narrative of Restoration
poetry as a male, urban, London-centric form obsessed with the
contemporary, arguing persuasively that this schema omits crucial
literary works and relationships. Framed around three detailed case
studies of neglected aspects of Restoration poetry, the book
explores the depth of Spenser's influence, the importance of poetry
flourishing in Ireland, the significance of natural landscapes and
the vital role of women: both as readers, and writers. This book
presents a diverse literary Restoration steeped in historical
self-awareness and anxieties, engaged with the world outside
England's capital, and open to new voices. Its impressive scope
encompasses myriad little-known writers, while extensive historical
research underpins its fresh perspectives on poets such as Dryden,
Rochester, Cowley, Milton, Marvell and Behn.
Producing Women's Poetry is the first specialist study to consider
English-language poetry by women across the seventeenth and early
eighteenth centuries. Gillian Wright explores not only the forms
and topics favoured by women, but also how their verse was enabled
and shaped by their textual and biographical circumstances. She
combines traditional literary and bibliographical approaches to
address women's complex use of manuscript and print and their
relationships with the male-generated genres of the traditional
literary canon, as well as the role of agents such as scribes,
publishers and editors in helping to determine how women's poetry
was preserved, circulated and remembered. Wright focuses on key
figures in the emerging canon of early modern women's writing, Anne
Bradstreet, Katherine Philips and Anne Finch, alongside the work of
lesser-known poets Anne Southwell and Mary Monck, to create a new
and compelling account of early modern women's literary history.
Producing Women's Poetry is the first specialist study to consider
English-language poetry by women across the seventeenth and early
eighteenth centuries. Gillian Wright explores not only the forms
and topics favoured by women, but also how their verse was enabled
and shaped by their textual and biographical circumstances. She
combines traditional literary and bibliographical approaches to
address women's complex use of manuscript and print and their
relationships with the male-generated genres of the traditional
literary canon, as well as the role of agents such as scribes,
publishers and editors in helping to determine how women's poetry
was preserved, circulated and remembered. Wright focuses on key
figures in the emerging canon of early modern women's writing, Anne
Bradstreet, Katherine Philips and Anne Finch, alongside the work of
lesser-known poets Anne Southwell and Mary Monck, to create a new
and compelling account of early modern women's literary history.
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