Helena Michie – författare

Examining the works of such Victorian writers as the Brontës, Dickens, Eliot, Trollope, and Hardy, Michie discusses the codes and taboos which distance the reader from the female body, allowing `safe' bodily parts - like hands - and `safe' physical activities - like eating - to stand for other, unspeakable aspects of female physicality. She reveals how these codes function as safe textual spaces for the entrance of the seemingly excluded female body, and shows that in the stylized discourses of synecdoche, euphemism, physiognomy, and metaphor lie the possibilities of their own subversion.

Helena Michie takes the notion of `otherness' as it has traditionally been used by Simone de Beauvoir and other feminists to designate the space between men and women, and transcribes it instead to the places between and among women. Its goal is to describe women's relations to each other and how these relations have been textually and culturally represented.

This book looks at how differences among women have been textually represented at a variety of historical moments and in a variety of cultural contexts, including Victorian mainstream fiction, African-American mulatto novels, late twentieth-century lesbian communities, and contemporary country music. Sororophobia designates the complex and shifting relations between women''s attempts to identify with other women and their often simultaneous desire to establish and retain difference. Michie argues for the centrality to feminism of a paradigm that moves beyond celebrations of identity and sisterhood to a more nuanced notion of women''s relations with other women which may include such uncomfortable concepts as envy, jealousy, and competition as well as more institutionalized ideas of difference such as race and class. Chapters on literature are interspersed by "inter-chapters" on the choreography of sameness and difference among women in popular culture.

Helena Michie''s provocative new work looks at how women''s bodies are portrayed in a variety of Victorian literary and non-literary genres--from painting, poems, and novels, to etiquette, books, sex manuals, and pornography. After identifying a series of codes and taboos that govern the depiction of women in such activities as eating and working, she then turns to the physical descriptions of Victorian heroines, focusing on those parts of their bodies that are erased, and on those that become fetishized in conventional description. Her vivid analysis moves forward in time with a consideration of 20th-century "second wave" feminism and a discussion of the poetics of the body as articulated by feminist writers on both sides of the Atlantic. Making use of feminist, poststructuralist, and psychoanalytic accounts of the figure of woman, and the relation of the body to the text, The Flesh Made Word offers fresh readings of works by writers as diverse as the Brontës, Dickens, Eliot, Gaskell, Trollope, Hardy, Adrienne Rich, Olga Broumas, Audre Lorde, and Louise Gluck.

While Victorian tourism and Victorian sexuality have been the subject of much critical interest, there has been little research on a characteristically nineteenth-century phenomenon relating to both sex and travel: the honeymoon, or wedding journey. Although the term 'honeymoon' was coined in the eighteenth century, the ritual increased in popularity throughout the Victorian period, until by the end of the century it became a familiar accompaniment to the wedding for all but the poorest classes. Using letters and diaries of 61 real-life honeymooning couples, as well as novels from Frankenstein to Middlemarch that feature honeymoon scenarios, Michie explores the cultural meanings of the honeymoon, arguing that, with its emphasis on privacy and displacement, the honeymoon was central to emerging ideals of conjugality and to ideas of the couple as a primary social unit.

While Victorian tourism and Victorian sexuality have been the subject of much critical interest, there has been little research on a characteristically nineteenth-century phenomenon relating to both sex and travel: the honeymoon, or wedding journey. Although the term 'honeymoon' was coined in the eighteenth century, the ritual increased in popularity throughout the Victorian period, until by the end of the century it became a familiar accompaniment to the wedding for all but the poorest classes. Using letters and diaries of 61 real-life honeymooning couples, as well as novels from Frankenstein to Middlemarch that feature honeymoon scenarios, Michie explores the cultural meanings of the honeymoon, arguing that, with its emphasis on privacy and displacement, the honeymoon was central to emerging ideals of conjugality and to ideas of the couple as a primary social unit.

Two Literary Critics Romancing the Archive at London’s National Portrait Gallery.Part biography, part detective novel, part love story, and part meditation on archival research,　Love Among the Archives　is an experiment in writing a life. This is the story of two literary critics’　attempts to track down Sir George Scharf, the founding director of the National Portrait Gallery in London, famous in his day and strangely obscure in our own. After discovering Scharf’s scrapbook of menus and invitations from England’s most stately homes, the authors began their adventures in the archives of London, searching Scharf’s diaries, sketchbooks, and letters for traces of the man who so loved dining out. Addicted to Victorian novels, the authors looked for a marriage plot, but found Scharf’s passionate attachment to a younger man who had hidden from him a secret engagement; they looked for a Bildungsroman, but found that Scharf never left his beloved mother.　Always short of money, self-educated, talented, irascible, gregarious, prolific, and snobbish, this son of a poor immigrant artist was to become the right-hand man of an earl he called　“my best friend.”　The written record of his nightmares, debts, gifts, and dinner parties　comes together to produce a rich Victorian character whose personal and professional lives challenge what we think we know about sex, class, and profession in his time.Helena Michie is Agnes Cullen Arnold Professor in Humanities and Professor of English at Rice University.　 She is the author of Victorian Honeymoons: Journeys to the Conjugal (2006), Sororophobia: Differences Among Women in Literature and Culture (1991) and The Flesh Made Word: Female Figures and Women’s Bodies (1987) and co-editor with Ronald Thomas of Nineteenth-Century Geographies: From the Victorian Age to the American Century (2002).Robyn Warhol is Arts and Humanities Distinguished Professor of English at the Ohio State University, where she is a core faculty member of Project Narrative.　 She is the author of Having a Good Cry: Effeminate Feelings and Pop Culture Forms (2003) and Gendered Interventions: Narrative Discourse in the Victorian Novel (1989) and co-editor with Susan S. Lanser of Narrative Theory Unbound: Queer and Feminist Interventions (2015).