Eighteenth-century women poets

Backscheider, Paula R.

doi:10.1017/chol9780521781442.010

Cited by 22 publications

(6 citation statements)

References 258 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…At this time, similar investigations were also regularly appearing within standalone journal articles (which, regrettably, are largely omitted from this survey for reasons of space). Meanwhile, it was becoming the norm for broader studies of eighteenth‐century poetry or women's writing to incorporate women poets, and for introductory period surveys to dedicate a chapter to ‘women's poetry’ (e.g., Backscheider, 2005a; Behrendt, 2015; Curran, 1993; Doody, 2000; Gerrard, 2010; Grant, 2006; Grundy, 2016; Kairoff, 2001; Shuttleton, 2015).…”

Section: Surveying Recent Scholarshipmentioning

confidence: 99%

Recent scholarship on eighteenth‐century women's poetry

Keown¹

2021

Literature Compass

View full text Add to dashboard Cite

The eighteenth century was a period of vital importance for the development of women's poetry: with each passing decade, more women began to read and write verse in every available genre and form. Since the late 1980s, this poetry has become increasingly accessible, and individual women poets have been thoroughly integrated into academic research and teaching. This essay provides an overview of recent scholarship on eighteenth‐century women's poetry. It begins by outlining broad trends in women's literary history which have shaped the field, before highlighting the unique challenges that women's poetry presents. It then offers a more focused survey of recently published scholarship, with an emphasis on the last 2 decades. Emerging research themes span from the growth in book history and manuscript investigations, to the resurgence of formalist interpretation. Studies of women's poetry have allowed scholars not only to reassess women's contributions to eighteenth‐century literary history, but to reconsider the very nature of that history—by re‐envisioning how and why poetry was written, innovated, circulated, published, read, and valued within the period. The essay concludes by proposing future directions for the field, including the need for continued recovery work, more critical editions and monograph studies, new methodologies, cross‐period dialogues with scholars of early modern and Romantic women's poetry, and practical initiatives to support precarious early career researchers.

show abstract

Section: Surveying Recent Scholarshipmentioning

confidence: 99%

Recent scholarship on eighteenth‐century women's poetry

Keown¹

2021

Literature Compass

View full text Add to dashboard Cite

show abstract

“…been read subsequently as a manifestation of Rowe's identity as a religious poet. 56 While that reading is not inaccurate, it risks overlooking the extent to which Roweand later Theophiluswas positioning herself confidently as an author. In this forty-five-line poem, the poet-speaker dreams of an angelic visitor who instructs the poet to follow a higher vocation and devote her 'song' to God.…”

Section: Rowe Reduxmentioning

confidence: 99%

“…57 Nonetheless, as Backscheider notes, this editorial framing contributed 'to the construction of a much narrower artist and human being than Rowe actually was' as it has been read as emphasizing a shift of emphasis in Rowe away from the pastoral towards religious verse. 58 As Backscheider herself acknowledges, the apparent problem of such a shift is not so much with Rowe's choice of genre or her framing in the contexts of her own time, but with later literary trends and prejudices.…”

Section: Rowe Reduxmentioning

confidence: 99%

“…Like John Milton before her, and her contemporary Alexander Pope, Rowe selfconsciously worked towards establishing what Backscheider identifies as a marker of the 'serious, experimental, original artist' at the time: an individual poetic 'signature'. 7 Nowhere is that individual signature more apparent than in Rowe's concerted invocation of questions about literary voice, inspiration, and vocation in her poetry. Indeed, from the start of her career, Rowe confidently performed the role of poet.…”

mentioning

confidence: 99%

“…Of Coach, or Tables, can you brag, Or better Cloaths than Poet RAG? (ll [53][54][55][56][57][58][59][60][61][62][63][64][65][66].…”

mentioning

confidence: 99%

See 2 more Smart Citations

Self-Fashioning and Poetic Voice: Elizabeth Singer Rowe’s Authorial Prerogative

Bigold

2018

The Review of English Studies

View full text Add to dashboard Cite

Elizabeth Singer Rowe (1674-1737) spent forty years negotiating and intervening in the gendered frameworks of the cultural poetics of her time. Nevertheless, despite a number of studies that explore Rowe's engagement with emerging literary trends and her posthumous reputation, little has been said about her self-conscious construction of a literary career trajectory. This essay seeks to address this lacuna by revisiting a number of poems, particularly her famous elegy to her husband, which helped to shape her career and reputation. Rowe's early poems reveal the care and deliberation with which she positioned

show abstract

Notes

Sitter¹

2011

The Cambridge Introduction to Eighteenth-Century Poetry

View full text Add to dashboard Cite

Eighteenth-century women poets

Cited by 22 publications

References 258 publications

Recent scholarship on eighteenth‐century women's poetry

Recent scholarship on eighteenth‐century women's poetry

Self-Fashioning and Poetic Voice: Elizabeth Singer Rowe’s Authorial Prerogative

Notes

Contact Info

Product

Resources

About