Elizabeth Langland – författare

The advent of women's studies has brought a feminist perspective into the academy—but has it made a difference there? Has it transformed our curriculum; has it reshaped our materials; has it altered our knowledge? In the essays collected here, nine distinguished scholars provide an overview of the differences the feminist perspective makes—and could make—in scholarship in the humanities and social sciences. Carefully documented and judiciously critical, these essays inform the reader about developments in feminist scholarship in literary criticism, the performing arts, religion, history, political science, economics, anthropology, psychology, and sociology. The authors point out achievements of lasting value and indicate how these might become an integral part of the various disciplines.

^IAnne BrontÎ: The Other One is the first full-length study to provide a feminist reading of the life and work of this youngest BrontÎ. In the BrontÎ mythology of three talented, intimate, and devoted sisters, Anne has played, in George Moore's words, the role of "literary Cinderella," relegated to the ashes of history for her failure to reach the standards set by her sisters. Elizabeth Langland demonstrates that the sisterly context, which enabled the work of all three, has proved detrimental to a full critical appreciation of Anne. Measured by the standards of Emily and Charlotte, Anne's work must inevitably suffer. Through a close examination of the life, poetry, and novels, Elizabeth Langland shows that Anne's work drew its inspiration from a different literary tradition than that which influenced her sisters and, further, that Anne's novels and poems, in fact, offer a stringent critique of the values inherent in her sisters' works. In detailing the literary debt Charlotte, in particular, owed her youngest sister and in demonstrating the intertextual relationships among all the BrontÎ novels, Professor Langland presents a genuinely revisionary perspective on Anne BrontÎ. In key chapters on the poetry,^R Agnes Grey, and The Tenant of Wildfell Hall, Professor Langland argues persuasively that we revise upward our critical estimate of this "literary Cinderella." Contents: 1. Anne BrontÎ's Life: 'age and experience'; 2. Influences: 'Action Bell is neither Currer nor Ellis Bell'; 3. The Poems: 'pillars of witness'; 4. Agnes Grey: 'all true histories contain instruction'; 5. The Tenant of Wildfell Hall: 'wholesome truths' versus 'soft nonsense'; 6. Critics on Anne BrontÎ: a 'literary Cinderella'; Note on Texts; Notes; Bibliography; Index^R

^IAnne Bront%: The Other One is the first full-length study to provide a feminist reading of the life and work of this youngest Bront%. In the Bront% mythology of three talented, intimate, and devoted sisters, Anne has played, in George Moore's words, the role of 'literary Cinderella,' relegated to the ashes of history for her failure to reach the standards set by her sisters. Elizabeth Langland demonstrates that the sisterly context, which enabled the work of all three, has proved detrimental to a full critical appreciation of Anne. Measured by the standards of Emily and Charlotte, Anne's work must inevitably suffer. Through a close examination of the life, poetry, and novels, Elizabeth Langland shows that Anne's work drew its inspiration from a different literary tradition than that which influenced her sisters and, further, that Anne's novels and poems, in fact, offer a stringent critique of the values inherent in her sisters' works. In detailing the literary debt Charlotte, in particular, owed her youngest sister and in demonstrating the intertextual relationships among all the Bront% novels, Professor Langland presents a genuinely revisionary perspective on Anne Bront%. In key chapters on the poetry,^R Agnes Grey, and The Tenant of Wildfell Hall, Professor Langland argues persuasively that we revise upward our critical estimate of this 'literary Cinderella.' Contents: 1. Anne Bront%'s Life: 'age and experience'; 2. Influences: 'Action Bell is neither Currer nor Ellis Bell'; 3. The Poems: 'pillars of witness'; 4. Agnes Grey: 'all true histories contain instruction'; 5. The Tenant of Wildfell Hall: 'wholesome truths' versus 'soft nonsense'; 6. Critics on Anne Bront%: a 'literary Cinderella'; Note on Texts; Notes; Bibliography; Index^R

Victoria's accession to the throne in 1837 coincided with the birth of a now notorious gender stereotype—the "Angel in the House." Comparing the position of real women—from the Queen of England to middle-class housewives—with their status as household angels, Elizabeth Langland explores a complex image of femininity in Victorian culture.Langland offers provocative readings of nineteenth-century fiction as well as a rare glimpse into etiquette guides, home management manuals, and cookbooks. She traces the implications of a profound contradiction: although the home was popularly depicted as a private moral haven, running the middle-class household—which included at least one servant—was in fact an exercise in class management. Drawing on the work of Foucault, Benjamin, and Bourdieu, and of recent feminist theorists, Langland considers novels by Dickens, Gaskell, Oliphant. and Eliot, as well as the memoirs of Hannah Cullwick, a former domestic servant who married a middle-class man.Langland discovers that the middle-class wife assumed a more complex and important function than has previously been recognized. With her substantial power veiled in myth, the Victorian angel mastered skills that enabled her to support a rigid class system; at the same time, however, her achievements unobtrusively set the stage for a feminist revolution. Nobody's Angels reconstructs a disturbing picture of social change that depended as much on protecting class inequity as on promoting gender equality.

Victoria's accession to the throne in 1837 coincided with the birth of a now notorious gender stereotype—the "Angel in the House." Comparing the position of real women—from the Queen of England to middle-class housewives—with their status as household angels, Elizabeth Langland explores a complex image of femininity in Victorian culture.Langland offers provocative readings of nineteenth-century fiction as well as a rare glimpse into etiquette guides, home management manuals, and cookbooks. She traces the implications of a profound contradiction: although the home was popularly depicted as a private moral haven, running the middle-class household—which included at least one servant—was in fact an exercise in class management. Drawing on the work of Foucault, Benjamin, and Bourdieu, and of recent feminist theorists, Langland considers novels by Dickens, Gaskell, Oliphant. and Eliot, as well as the memoirs of Hannah Cullwick, a former domestic servant who married a middle-class man.Langland discovers that the middle-class wife assumed a more complex and important function than has previously been recognized. With her substantial power veiled in myth, the Victorian angel mastered skills that enabled her to support a rigid class system; at the same time, however, her achievements unobtrusively set the stage for a feminist revolution. Nobody's Angels reconstructs a disturbing picture of social change that depended as much on protecting class inequity as on promoting gender equality.

The distinctive and varied formal roles that a fictional society might play in a novel is the subject of this pioneering work. Langland opens with a discussion of novel theory, placing her perspectives within contemporary theory, and follows with a discussion of novels from the British, American, and Continental traditions from the eighteenth, nineteenth, and twentieth centuries. She also raises questions about society in the novel as an expression of Western and Eastern values.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Questions of female development shape women's studies in many fields as women seek to define those forces which mold their experiences. Surprisingly, this is the first book to study systematically and from a comparative perspective the female novel of development, or Bildungsroman. Prevailing definitions of the Bildungsroman derive from the conceptions of development based on male experience. The book offers an expanded generic model that incorporates the distinctively female patterns of realization and failed realization which emerge from the limited social opportunities depicted in the nineteenth- and twentieth-century novel and from the particular features of women's maturation as revealed by recent feminist psychoanalytic research.