Carolyn Dever – författare

The cultural ideal of motherhood in Victorian Britain seems to be undermined by Victorian novels, which almost always represent mothers as incapacitated, abandoning or dead. Carolyn Dever argues that the phenomenon of the dead or missing mother in Victorian narrative is central to the construction of the good mother as a cultural ideal. Maternal loss is the prerequisite for Victorian representations of domestic life, a fact which has especially complex implications for women. When Freud constructs psychoanalytical models of family, gender and desire, he too assumes that domesticity begins with the death of the mother. Analysing texts by Dickens, Collins, Eliot, Darwin and Woolf, as well as Freud, Klein and Winnicott, Dever argues that fictional and theoretical narratives alike use maternal absence to articulate concerns about gender and representation. Psychoanalysis has long been used to analyse Victorian fiction; Dever contends that Victorian fiction has much to teach us about psychoanalysis.

The cultural ideal of motherhood in Victorian Britain seems to be undermined by Victorian novels, which almost always represent mothers as incapacitated, abandoning or dead. Carolyn Dever argues that the phenomenon of the dead or missing mother in Victorian narrative is central to the construction of the good mother as a cultural ideal. Maternal loss is the prerequisite for Victorian representations of domestic life, a fact which has especially complex implications for women. When Freud constructs psychoanalytical models of family, gender and desire, he too assumes that domesticity begins with the death of the mother. Analysing texts by Dickens, Collins, Eliot, Darwin and Woolf, as well as Freud, Klein and Winnicott, Dever argues that fictional and theoretical narratives alike use maternal absence to articulate concerns about gender and representation. Psychoanalysis has long been used to analyse Victorian fiction; Dever contends that Victorian fiction has much to teach us about psychoanalysis.

Anthony Trollope was among the most prolific, popular, and richly diverse writers of the mid-Victorian period, with forty-seven novels and a variety of other writings to his name. Both a serial and series writer whose novels traversed Ireland, England, Australia and New Zealand, and genres from realism to science fiction, Trollope also published criticism, short fiction, travel writing and biography. The Cambridge Companion to Anthony Trollope provides a state-of-the-field review of critical perspectives on his work, with the volume's sixteen essays addressing Trollope's biography, autobiography, canonical fiction, short stories and travel writing, as well as surveying diverse topics including gender, sexuality, vulgarity, and the law.

Anthony Trollope was among the most prolific, popular, and richly diverse writers of the mid-Victorian period, with forty-seven novels and a variety of other writings to his name. Both a serial and series writer whose novels traversed Ireland, England, Australia and New Zealand, and genres from realism to science fiction, Trollope also published criticism, short fiction, travel writing and biography. The Cambridge Companion to Anthony Trollope provides a state-of-the-field review of critical perspectives on his work, with the volume's sixteen essays addressing Trollope's biography, autobiography, canonical fiction, short stories and travel writing, as well as surveying diverse topics including gender, sexuality, vulgarity, and the law.

The Literary Channel defines a crucial transnational literary "zone" that shaped the development of the modern novel. During the first two centuries of the genre's history, Britain and France were locked in political, economic, and military struggle. The period also saw British and French writers, critics, and readers enthusiastically exchanging works, codes, and theories of the novel. Building on both nationally based literary history and comparatist work on poetics, this book rethinks the genre's evolution as marking the power and limits of modern cultural nationalism. In the Channel zone, the novel developed through interactions among texts, readers, writers, and translators that inextricably linked national literary cultures. It served as a forum to promote and critique nationalist cliches, whether from the standpoint of Enlightenment cosmopolitanism, the insurgent nationalism of colonized spaces, or the non-nationalized culture of consumption. In the process, the Channel zone promoted codes that became the genre's hallmarks, including the sentimental poetics that would shape fiction through the nineteenth century.Uniting leading critics who bridge literary history and theory, The Literary Channel will appeal to all readers attentive to the future of literary studies, as well as those interested in the novel's development, British and French cultural history, and extra-national patterns of cultural exchange. Contributors include April Alliston, Emily Apter, Margaret Cohen, Joan DeJean, Carolyn Dever, Lynn Festa, Francoise Lionnet, Deidre Shauna Lynch, Sharon Marcus, Richard Maxwell, and Mary Helen McMurran.

Why a monumental diary by an aunt and niece who published poetry together as “Michael Field”—and who were partners and lovers for decades—is one of the great unknown works of late-Victorian and early modernist literatureMichael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846–1914) and her niece, Edith Cooper (1862–1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siècle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown “novel” of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation.While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were unfulfilled during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater.Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.

The first book-length selection from the extraordinary unpublished diary of the late-Victorian writer “Michael Field”—the pen name of two female coauthors and romantic partnersMichael Field was known to late-Victorian readers as a superb poet and playwright—until Robert Browning let slip Field’s secret identity: in fact, “Michael Field” was a pseudonym for Katharine Bradley (1846–1914) and Edith Cooper (1862–1913), who were lovers, a devoted couple, and aunt and niece. For thirty years, they kept a joint diary titled Works and Days that eventually reached almost 10,000 pages. One Soul We Divided is the first critical edition of selections from this remarkable unpublished work.A fascinating personal and literary experiment, the diary tells the extraordinary story of the love, art, ambitions, and domestic life of a queer couple in fin de siècle London. It also tells vivid firsthand stories of the literary and artistic worlds Bradley and Cooper inhabited and of their encounters with such celebrities as Browning, Oscar Wilde, W. B. Yeats, Aubrey Beardsley, and Bernard Berenson. Carolyn Dever provides essential context, including explanatory notes, a cast of characters, a family tree, and a timeline.An unforgettable portrait of two writers and their unexpected romantic, literary, and artistic marriage, One Soul We Divided rewrites what we think we know about Victorian women, intimacy, and sexuality.

The first book-length selection from the extraordinary unpublished diary of the late-Victorian writer “Michael Field”—the pen name of two female coauthors and romantic partnersMichael Field was known to late-Victorian readers as a superb poet and playwright—until Robert Browning let slip Field’s secret identity: in fact, “Michael Field” was a pseudonym for Katharine Bradley (1846–1914) and Edith Cooper (1862–1913), who were lovers, a devoted couple, and aunt and niece. For thirty years, they kept a joint diary titled Works and Days that eventually reached almost 10,000 pages. One Soul We Divided is the first critical edition of selections from this remarkable unpublished work.A fascinating personal and literary experiment, the diary tells the extraordinary story of the love, art, ambitions, and domestic life of a queer couple in fin de siècle London. It also tells vivid firsthand stories of the literary and artistic worlds Bradley and Cooper inhabited and of their encounters with such celebrities as Browning, Oscar Wilde, W. B. Yeats, Aubrey Beardsley, and Bernard Berenson. Carolyn Dever provides essential context, including explanatory notes, a cast of characters, a family tree, and a timeline.An unforgettable portrait of two writers and their unexpected romantic, literary, and artistic marriage, One Soul We Divided rewrites what we think we know about Victorian women, intimacy, and sexuality.

Why a monumental diary by an aunt and niece who published poetry together as “Michael Field”—and who were partners and lovers for decades—is one of the great unknown works of late-Victorian and early modernist literatureMichael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846–1914) and her niece, Edith Cooper (1862–1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siècle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown “novel” of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation.While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were unfulfilled during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater.Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.

This Major Reference series brings together a wide range of key international articles in law and legal theory. Many of these essays are not readily accessible, and their presentation in these volumes will provide a vital new resource for both research and teaching. Each volume is edited by leading international authorities who explain the significance and context of articles in an informative and complete introduction.