In the decades spanning the nineteenth century, thousands of women entered the literary marketplace. Twelve of the century's most successful women writers provide the focus for Mary Kelley's landmark study: Maria Cummins, Caroline Howard Gilman, Caroline Lee Hentz, Mary Jane Holmes, Maria McIntosh, Sara Parton, Catharine Maria Sedgwick, E.D.E.N. Southworth, Harriet Beecher Stowe, Mary Virginia Terhune, Susan Warner, and Augusta Evans Wilson. These women shared more than commercial success. Collectively they created fictions that Kelley terms "literary domesticity," books that both embraced and called into question the complicated expectations shaping the lives of so many nineteenth-century women. Matured in a culture of domesticity and dismissed by a male writing establishment, they struggled to reconcile public recognition with the traditional roles of wife and mother. Drawing on the 200 volumes of published prose and on the letters, diaries, and journals of these writers, Kelley explores the tensions that accompanied their unprecedented literary success. In a new preface, she discusses the explosion in the scholarship on writing women since the original 1984 publication of Private Woman, Public Stage and reflects on the book's ongoing relevance.
Asking how and why women shaped their lives anew through education, Mary Kelley measures the signifi
Italian Women's Autobiography Graziella Parati ... See also Public space Private Woman, Public Stage (Kelley), 4 Public space: academia as, 14; access to, 13, 16, 20; alternative, 9; bourgeois, 8, 160—61n19; of court (royal), 28, 35; ...
59 The response of one woman's rights activist , Elizabeth Oakes Smith , to the charge that women involved in the cause were “ disaffected ” and “ embittered " reveals the difficulties that even woman's rights women faced when they ...
Mary Kelley, Private Women, Public Stage (New York: Oxford University Press, 1984), 125. 9. Tracy Davis, Actresses As Working Women: Their Social Identity in Victorian Culture (London: Routledge, 1991), 3. 10. Elizabeth Reitz Mullenix ...
... “The Literary Domestics: Private Women on a Public Stage,” in Ideas in America's Cultures: From Republic to Mass Society, edited by Hamilton Cravens (Ames: Iowa State University Press, 1982), 83-102; Mary Kelley, Private Woman, ...
While describing the harsh punishments meted out by schoolmasters in A Boy's Town, he shifted to an occasion when he had joined his fascination for literature to the 1. In 1917, Clifton Johnson photographed scenes to illustrate ...
... 123, 203; sentimental semiotics and desire, 184–86; transcendentalism, 32, 112, 187; use of metonymy, 18, 32; Williams on, 187; women as resistant readers of, 202. See also Passion-Flowers collection (Howe) Howe, Samuel Gridley, ...
34 As Tim Dean develops, “As image, the phallus is not exactly a signifier or a real cause of desire. ... Dean's sense of Lacan's use of the phallus as a symbolic figure with lingering ties to the imaginary realm conveys my own ...
Private Women , Public Stage as " literary domestics . ” In actuality , as Susan Coultrap - McQuin has argued , " the literary marketplace was not particularly alienating to women , " and that rather than the crude den of male ...
The attempt to recreate the framework in terms of a mancinismo , to parallel machismo , soon began to break down.49 Dolores Janiewski , Sisterhood Denied : Race , Gender , and Class in a New South Community ( Philadelphia , 1985 ) ...