The Urban Peripatetic: Spectator, Streetwalker, Woman Writer

1991 ◽  
Vol 46 (3) ◽  
pp. 351-375 ◽  
Author(s):  
Deborah Epstein Nord
Keyword(s):  
Woman Writer

‘The well-known, old, but still unbeaten track’: Women Poets and Irish Periodical Culture in the Mid-Twentieth Century

2012 ◽  
Vol 42 (1) ◽  
pp. 32-52 ◽  
Author(s):  
Anne Mulhall
Keyword(s):  
Twentieth Century ◽  
Literary Culture ◽  
Woman Writer ◽  
Double Bind ◽  
Women Poets ◽  
Substantial Body ◽  
Growing Body ◽  
Critical Attention ◽  
Irish Women ◽  
Under Construction

While neglected Irish male poets of the mid century have seen some recuperation in recent decades, the work of Irish women poets still languishes in obscurity. A growing body of scholarship has identified the need to bring critical attention to bear on this substantial body of work. In this essay I explore the positioning of Irish women poets in mid-century periodical culture, to flesh out the ways in which the terms of this ‘forgetting’ are already established within the overwhelmingly masculinist homosocial suppositions and idioms that characterized contemporary debates about the proper lineage and aesthetic norms for the national literary culture that was then under construction. Within the terms set by those debates, the woman writer was caught in the double bind that afflicted any woman wishing to engage in a public, politicized forum in post-revolutionary Ireland. While women poets engage in sporadic or oblique terms with such literary and cultural debates, more often their voices are absent from these dominant discourses – the logic of this absence has continued in the occlusion of these women poets from the national poetic canon.

No Man's Land: The Place of the Woman Writer in the Twentieth Century, Vol. II: Sexchanges.

1990 ◽  
Vol 62 (1) ◽  
pp. 107
Author(s):  
Linda Wagner-Martin ◽  
Sandra M. Gilbert ◽  
Susan Gubar
Keyword(s):  
Twentieth Century ◽  
Woman Writer ◽  
No Man's Land

"Plain and Vulgarly Express'd": Margaret Cavendish and the Discourse of the New Science

2001 ◽  
Vol 19 (4) ◽  
pp. 403-417 ◽  
Author(s):  
Richard Nate
Keyword(s):  
Royal Society ◽  
Scientific Community ◽  
Woman Writer ◽  
Margaret Cavendish ◽  
New Science ◽  
Plain Style ◽  
Thomas Sprat

Although Margaret Cavendish, Duchess of Newcastle (1623-1673), did not belong to the scientific community which after 1660 formed itself around the Royal Society, several of the philosophical issues discussed there are reflected in her writings. Lengthy reflections on language and style which run through her philosophical worksprovide evidence that the linguistic and rhetorical debates of the early Royal Society also left their mark. The isolation which Cavendish faced as a woman writer obliged her to discuss problems of terminology and style even more intensively, thereby adhering to the rhetorical principle of perspicuity which Thomas Sprat demanded in his proposal for a scientific plain style. The influence of the New Science on Cavendish's work becomes obvious when her later writings are compared to her earlier ones where traces of a courtly and more elitist understanding of style can still be found. In this paper the development of Cavendish's stylistic attitudes is traced in several of her works, including her Utopian narrative The Blazing World (1666).

The Hogarth Press

2021 ◽  
pp. 245-261
Author(s):  
Alice Staveley
Keyword(s):  
Short Fiction ◽  
The State ◽  
Woman Writer ◽  
Private And Public ◽  
History Of ◽  
The Impact ◽  
Hogarth Press ◽  
Creative Production ◽  
State Of The Field ◽  
Feminist Materialism

‘Yet I’m the only woman in England free to write what I like. The others must be thinking of series’ & editors.’ Woolf’s 1925 homage to the impact of the Hogarth Press on her career is well known, signifying a new sense of herself as a woman writer in command of the means of creative production. Less well known is how pervasive were her private and public negotiations with the narratological implications of the feminist materialism she cultivated as a printer and publisher. This article reviews the state of the field, re-reads her early short fiction in the context of her typesetting experiments, which resonate with the conflicted history of women in the printing trades, and argues for a revisionist understanding of Woolf’s feminist modernism as isomorphic with the Hogarth Press.

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