Assuming the role of editor

Palmer, Beth; Peterson, Linda H.

doi:10.1017/cco9781107587823.006

Cited by 1 publication

(3 citation statements)

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“…Although she never had children, she championed a group of younger female friends whom she nicknamed "the Goslings" (herself being Mother Goose), with whom she produced coauthored stories. 42 Yonge nursed her closest friend, Marianne Dyson, who could not walk and suffered from severe headaches. 43 Additionally, she witnessed her mentor, Keble, caring for his invalid sister, Elisabeth.…”

Section: Case Study: the Heir Of Redclyffementioning

confidence: 99%

“…Guy can now imagine a fictional predecessor rather than a real ancestor, a new intertextual possibility. As Amy reminds Guy, "Sintram conquered his doom" (71). Guy had assumed that he was doomed to repeat his familial past, but Amy's comment reveals to Guy that he can alter his fate by choosing to leap laterally into someone else's story.…”

Section: Case Study: the Heir Of Redclyffementioning

confidence: 99%

“…Yonge began editing The Monthly Packet as she started writing Heir and remained its editor for an astonishing thirty-nine years, making her "the longest-serving novelist-editor of the nineteenth century," in Beth Palmer's words. 71 She also edited a private amateur magazine called "The Barnacle," and the journal of the Mother's Union, Mothers in Council. 72 The periodical offers a synchronic space in which disparate worlds coexist, impinging on one another through spatial juxtaposition and coincidental echoes rather than in a linear, chronologically logical progression.…”

Section: Case Study: the Heir Of Redclyffementioning

confidence: 99%

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Victorian Feminist Criticism: Recovery Work and the Care Community

Schaffer¹

2018

Victorian Literature and Culture

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It is fitting that this article emerged from a conference in which the orderly progression of speakers was continually modified by exchanges within the conference space, for these two ways of organizing information form the subject of this article. When we aim to recover Victorian women writers, we often imagine a particular case in a timeline, selecting and extracting in a tacit model of linear orderliness. This is particularly significant in what we might call “recovery feminism,” the practice of salvaging texts that have been lost to history. Recovery feminism has dominated Victorianist feminist criticism since its development in the late 1970s, and I practiced it enthusiastically in my first book,The Forgotten Female Aesthetes. In this article, I want to acknowledge what recovery feminism has given us, but I also want to delineate the profound and often unarticulated ways it continues to structure our work, often with unintended consequences. In order to explore alternative forms of feminism, I assess theories of influence and intertextuality, and I use Charlotte M. Yonge'sThe Heir of Redclyffe(1853) as an example that both thematizes this issue and acts as a case study of forms of feminist criticism. A viable feminist criticism, I contend, ought to be able to address a novel likeHeir, andHeiritself may be able to provide a model for how to do that. Such a model of feminist practice might actually resemble the simultaneous, atemporal, interactive model of the conference day. In the digital era, we occupy an alternative chronology, in which we envision ourselves not as strenuously excavating the last disintegrating relics of the past, but rather as choosing among multiple simultaneous virtual texts, severed from markers of time or space. What might be a feminist critical practice for the way we work now?

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Section: Case Study: the Heir Of Redclyffementioning

confidence: 99%

Section: Case Study: the Heir Of Redclyffementioning

confidence: 99%

Section: Case Study: the Heir Of Redclyffementioning

confidence: 99%

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