Visualising Female Authorship. Author Portraits and the Representation of Female Literary Authority in the Eighteenth-Century Dutch Republic

Deinsen, Lieke van

doi:10.1163/15700690-12341449

Cited by 2 publications

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“…Se alinea también con los retratos de jóvenes enamorados y amantes desdeñados del Renacimiento -varones todos-en los que el desaliño de la vestimenta era indicio de su padecimiento amoroso. La connotación del retrato de Haywood es ya un anuncio del contenido del libro, poesía amatoria, con la diferencia de que la autora hace también las veces de figurín, y su propia semi desnudez se ofrece como publicidad, en lugar de la desnudez de una modelo anónima (Spedding, 2011).…”

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El carisma de la efigie en el libro impreso

Treviño

2021

Anuario de Letras Modernas

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Desde los bustos de mármol de la Antigüedad que custodian sus libros en las bibliotecas, la práctica de incluir retratos autorales al lado de las obras literarias sigue vigente. Con el advenimiento del libro impreso, el uso de la efigie cobró mayor importancia hasta convertirse en un paratexto a veces obligado para la interpretación de la obra literaria. Los retratos autorales se basan en procesos de ethopoiesis, o de construcción de carácter, que obedecen a los valores imperantes en el contexto en el que se producen. Algunos modelos típicos de la persona autoral son el poeta laureado, el genio romántico, la monja letrada, la cortesana y la autora exótica; una de las poses adoptadas con mayor frecuencia es la pose melancólica. En este artículo se presentan algunos ejemplos significativos.

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El carisma de la efigie en el libro impreso

Treviño

2021

Anuario de Letras Modernas

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Female Faces in the Fraternity. Printed Portraits Galleries and the Construction and Circulation of Images of Learned Women in the Republic of Letters

van Deinsen

2024

New Transculturalisms, 1400–1800

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How women tried to secure a place in the early modern male-dominated intellectual field has been the subject of numerous studies over the last decade. The most visible sign of their growing presence in the intellectual field—their printed portraits—has, however, received surprisingly little critical attention. This chapter discusses printed portraits of learned women as vehicles of public image in the male-dominated Republic of Letters. It unravels how the inclusion of the likenesses of four prominent contemporary learned women—Luise Gottsched, Emilie Du Châtelet, Laura Bassi and Magdalena Sibylla Rieger—in one of the most ambitious printed portrait galleries of the eighteenth century, the Bilder-Sal, contributed to their representation as intellectual authority in the Republic of Letters. Especially due to their visual nature their portraits proved ideal vehicles to readily disseminated representations of female intellectual authority across regional, national and linguistic borders, finding their ways to the study rooms of prominent scholars. As such, they contributed to a more inclusive image of the intellectual across Europe. It remained, however, a fine line between embodying intellectual authority and maintaining female modesty. Besides reflections on their intellectual capacities, these women’s portraits continued to spark discussions on their physical—and evidently female—appearances.

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Visualising Female Authorship. Author Portraits and the Representation of Female Literary Authority in the Eighteenth-Century Dutch Republic

Cited by 2 publications

References 0 publications

El carisma de la efigie en el libro impreso

El carisma de la efigie en el libro impreso

Female Faces in the Fraternity. Printed Portraits Galleries and the Construction and Circulation of Images of Learned Women in the Republic of Letters

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