Women Musicians in Victorian Fiction, 1860-1900: Representations of Music, Science and Gender in the Leisured Home (review)

Notes ◽  
2002 ◽  
Vol 58 (4) ◽  
pp. 813-815
Author(s):  
Grant Olwage
Keyword(s):  
Women Musicians ◽  
Victorian Fiction ◽  
And Gender

Novel Relations

2019 ◽  
Author(s):  
Alicia Mireles Christoff
Keyword(s):  
Critical Race Theory ◽  
Object Relations ◽  
George Eliot ◽  
Literary Form ◽  
Gender And Sexuality ◽  
Victorian Novels ◽  
Victorian Fiction ◽  
Gender And Sexuality Studies ◽  
And Gender ◽  
The Impact

This book engages twentieth-century post-Freudian British psychoanalysis in an unprecedented way: as literary theory. Placing the writing of figures like D. W. Winnicott, W. R. Bion, Michael and Enid Balint, Joan Riviere, Paula Heimann, and Betty Joseph in conversation with canonical Victorian fiction, the book reveals just how much object relations can teach us about how and why we read. These thinkers illustrate the ever-shifting impact our relations with others have on the psyche, and help us see how literary figures—characters, narrators, authors, and other readers—shape and structure us too. In the book, novels are charged relational fields. Closely reading novels by George Eliot and Thomas Hardy, the book shows that traditional understandings of Victorian fiction change when we fully recognize the object relations of reading. It is not by chance that British psychoanalysis illuminates underappreciated aspects of Victorian fiction so vibrantly: Victorian novels shaped modern psychoanalytic theories of psyche and relationality—including the eclipsing of empire and race in the construction of subject. Relational reading opens up both Victorian fiction and psychoanalysis to wider political and postcolonial dimensions, while prompting a closer engagement with work in such areas as critical race theory and gender and sexuality studies. The book describes the impact of literary form on readers and on twentieth- and twenty-first-century theories of the subject.

Charlotte Brontë

2017 ◽  
Keyword(s):  
Gender Identity ◽  
Charlotte Bronte ◽  
First Century ◽  
Narrative Style ◽  
Victorian Fiction ◽  
Literary Tourism ◽  
Sexuality And Gender ◽  
Literary Cultures ◽  
And Gender ◽  
The Web

Charlotte Brontë: Legacies and afterlives examines the persistent fascination and creative engagement with Charlotte Brontë’s life and work in the context of the bicentenary of her birth. The essays in this volume cover the period from Brontë’s first publication to the twenty-first century, explaining why the author has been at the forefront of literary cultures. The contributors engage with topics including: the author cult which emerged shortly after her death; literary tourism in Haworth and Brussels; stage adaptations of her life and novels; her poetic legacy; the afterlives of her plots and characters in neo-Victorian fiction, cinema, television, the theatre and on the web. This book brings the story of Brontë’s legacy up-to-date, analysing texts such as obituaries, literary re-workings, adaptations for screen, vlogs, and erotic makeovers. The contributors take a fresh look at over 150 years of engagement with Brontë, considering genre, narrative style, the representation of national and regional identities, sexuality and gender identity, literary tourism, adaptation theories, cultural studies, postcolonial and transnational readings.

‘Get back to where you once belonged!’ The positive creative impact of a refresher course for ‘baby-boomer’ rock musicians

Popular Music ◽  
2012 ◽  
Vol 31 (2) ◽  
pp. 199-215 ◽  
Author(s):  
Helen O'Shea
Keyword(s):  
Rock Music ◽  
Women Musicians ◽  
Academic Research ◽  
Music Learning ◽  
Directed Group ◽  
Music Scenes ◽  
Learning Practices ◽  
Learning Pathways ◽  
Rock Musicians ◽  
And Gender

AbstractThis article reports on a study of participants in a Weekend Warriors Program for ‘lapsed’ rock musicians in Melbourne, Australia. It observes musicians over a six-week period that included a jam session, coaching sessions and a gig (concert). It examines the learning pathways of participants and their goals and experiences alongside those of the programme organisers within the comparative context of music learning practices among young and older musicians and in the light of academic research into the midlife ageing process. A question that arises from the data is the extent to which the experience and actions of middle-aged women musicians coincides with the literature on gender in youth rock music scenes and the literature on music, ageing and gender. The article concludes that the Weekend Warriors Program draws on the learning practices that the musicians involved had adopted in their youth and which act as a catalyst for their further musical and social participation and self-directed group learning. Age appeared to create no barrier to their enjoyment or their achievements; indeed in many ways it seemed to make them less inhibited and self-conscious in realising individual objectives that were further encouraged by working within a supportive if loosely bonded group.

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