By T. Hoagwood, K. Ledbetter
A wide physique of nineteenth-century British women's literature highlights using verbal illusions, even whereas its essence is still the idea of inward and private adventure. within the age of industrial distribution, the nonequivalence of non-public feeling and published product is usually rendered bitterly, yet occasionally that nonequivalence inspires the opulence of artifice. "Colour'd Shadows" is a chain of arguments approximately such relationships of fabric shape and fabric trade with literary that means, continuing from particular examples within the writings and careers of ladies writers and numerous publishing genres, together with Victorian periodicals and literary annuals.
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Additional info for Colour'd Shadows: Contexts in Publishing, Printing, and Reading Nineteenth-Century British Women Writers
Whereas Robinson’s Letter to the Women of England and Hays’s Appeal to the Men of Great Britain articulate vigorous critiques of the ideology of sex whereby women’s interests focus chiefly or exclusively on the fictions of love, the Minerva Press was very busy in selling those same fictions. Lane marketed stereotypes of passionate and unintellectual women while Hays, Wollstonecraft, and Robinson were warning British women of the dangers of those stereotypes. Later chapters of this book discuss similar stereotypes in images of aristocratic women in the literary annuals and gift books designed for middleclass women readers.
For Hays, Wollstonecraft, and Robinson alike, an ideological problem of literature is its power to contribute to patterns of domination by supplying conventional scripts of sexually specific characters (reasonable men, emotional women) and conventionally scripted lives (true love, ungovernable passion, and then marriage as the end of life). This issue is the center of Wollstonecraft’s critique of Rousseau in A Vindication of the Rights of Woman, and it is the polemical theme of Hays’s Emma Courtney.
In 1828, the volume’s title-page announces Records of Woman: With Other Poems by Felicia Hemans, beneath which appears, as a verbal ornament, a pair of epigraphs, one from Wordsworth and one from Schiller (in German). The publisher’s imprint reads “Blackwood, Edinburgh: and T. Cadell, London. ” If you do not object to this, I will promise that the inscription shall be as simple as you could desire. I very much wish to bring out the book in Edinburgh, provided my friends can make desirable arrangements for me with any of the publishers there; but I hope you will allow me to offer you, whether in your own country or mine, this little token of unfeigned respect.