Titlebook: British Women‘s Writing from Bront? to Bloomsbury, Volume 2; 1860s and 1870s Adrienne E. Gavin,Carolyn W. de la L. Oulton Book 2020 The Edi

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Transcending Prudence: Charlotte Riddell’s ‘City Women’. The types of stories Riddell imagined in the 1870s testify to the growing cultural, social, and political relevance of questions pertaining to women’s relations with money, property, and professional aspirations. No advocate for women’s rights, Riddell nonetheless contributed to redefining the ima

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‘[M]ute orations, mute rhapsodies, mute discussions’: Silence in George Eliot’s Last Decadeestion acts of interpretation, their own and those of her characters and narrators. Both the silent gaps between part publication of these novels and the unworded interactions of her characters scramble our interpretative mechanisms. Purposeful silences, these structural and narrative acts, are Elio

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‘His eyes , me to come to him’: Desire and Mesmerism in Rhoda Broughton’s ‘The Man with the Nose’emale sexuality. Published during the Victorian period, when female sexual desire was rarely given voice in realist fiction, Broughton’s stories reveal both desire and fear surrounding women’s sexuality. This chapter argues that both the genre of speculative fiction and the story’s concentration on

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‘[E]mphatically un-literary and middle-class’: Undressing Middle-Class Anxieties in Ellen Wood’s , Sd middle-class’ they offer an insightful social commentary to scholars of Victorian fiction. Hunt uses the medium of dress to explore anxieties of class and gender with particular reference to Wood’s use of a male narrator and pseudonym. Wood’s decision to adopt a male narrator jars against the freq

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‘More like a woman stuck into boy’s clothes’: Transcendent Femininity in Florence Marryat’s d Lucilla Evans, a textbook hysteric who falls in love with her. Whereas in many contemporary novels masculine women are feared and derided as vectors of lesbian contagion, Leona is portrayed as an entirely sympathetic character. Through Leona, Marryat allows women a greater range of sexual expressi

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‘I am writing the life of a horse’: Anna Sewell’s , in the 1870ss of her life, broke literary gender barriers by focusing on working horses, and wrote with acute topicality on equine concerns when Britain’s demand for horsepower was at its height and various forms of equine?cruelty were pervasive. As Gavin shows, . also drew on the sensual techniques of sensatio