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Socio-cultural contexts in art
Literature and women in the Victorian century
Literature and women in the Victorian century
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Christina Rossetti's Goblin Market instigates significant controversy and dispute in many of its critics and readers, despite its deceptively simple form. As such, many individuals have proposed theories regarding the poem's convoluted meanings and challenging messages. However the presence of the apparent sexual references and innuendoes presented in the poem inspire much of the disagreement surrounding Rossetti’s intentions. Nevertheless, Christina Rossetti's canonical poem continues to fascinate and enchant its readers due to insightful evaluation of Victorian female sexual ideologies and expectations. Often seen as a didactic fairytale, the controversial poem can, more importantly, be perceived as a provocative feminist text which explores deviant sexuality and female desire in the Victorian age, with an unusual but seamless metaphor that offers powerful implications. As a result, Rossetti addresses feminine sensuality and desire by concealing her controversial lessons through an acceptable format--seductively exposing the values of the Victorian culture. Consequently, within its vivid images and themes, Rossetti offers a revolutionary perspective which defies these confinements, as she romantically critiques the conventions and expectations of society through a narrative of forbidden female sexuality and independence. In the writing of Goblin Market, in order to address and communicate these strict and dissatisfying societal restrictions, Christina Rossetti references the traditional allegory of forbidden fruit and desire expressed in the biblical tale of the Fall. Through these classic religious stories, she cleverly challenges the patriarchal perceptions of women within the Victorian culture, focusing specifically on women... ... middle of paper ... ...The Achievement of Christina Rossetti. Ed. David Kent. New York: Cornell University Press, 1987. 175-191. Davis, R. W. “Aristocratic Women and Political Society in Victorian Britain.” Victorian Studies, 43.1 (2000) 181-183. Web. 21 Nov. 2013 Escobar, Kirsten E. "Female Saint, Female Prodigal: Christina Rossetti's 'Goblin Market'." Religion & The Arts 5.1/2 (2001): 129. Humanities International Complete. Web. 21 Nov. 2013. Garlick, Barbara. "The Frozen Fountain: Christina Rossetti, the Virgin Model, and Youthful Pre-Raphaelitism." Virginal Sexuality and Textuality in Victorian Literature. Ed. Lloyd Davis. Albany: State U of New York P, 1993. 105-27 Marsh, Jan. "Christina Rossetti's Vocation: The Importance of 'Goblin Market." Victorian Poetry 32 (1994): 233-48. Parker, Christopher, ed. “Gender Roles and Sexuality in Victorian Literature.” England: Scolar Press, 1995.
In her poems Christina Rossetti references the loss of innocence stemming from premarital sexual encounters. In both the poems “An Apple Gathering” and “Cousin Kate”, Rossetti tells stories of women who lost their purity before marriage, and therefore deemed outcasts of society. These acts of dalliance exhibit how the loss of innocence can affect a Victorian woman’s life. Each poem begins with the introduction of the women who pursued physical relationships, followed by their abandonment by men, and thus, living their lives as outcasts.
GRISELDA POLLOCK, review of “Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art”, THE ART BULLETIN SEPTEMBER 1990 VOLUME, LXXII NUMBER
This essay explores the blurring of gender roles within Bram Stoker’s Dracula and Angela Carter’s The Lady of the House of Love, focusing on the presentation of a sexually assertive female and its threat to the patriarchal society, and the duality of the female characters as they are presented as enticing and thrilling, but also dangerous and somewhat repulsive.
Delamotte, Eugenia C. reprinted in Twentieth-Century Literary Criticism Vol. 37. Ed. Paula Kepos. Detroit: Gale Research Inc., 1991.
In terms of gender ideals of medieval society, the main characters in the story are very conventional. To begin with the story meshed nicely with the social conventions that Gayle Rubin explains in Traffic of Women. Accor...
...re cautious look at "Goblin Market" shows that the poetry is pretty complicated, and able to back up a more innovative studying than the ones put forth above. Rather than saying that "Goblin Market" has a particular concept, I would put forth the idea that it efforts to cope with certain issues Rossetti identified within the cannon of British literary works, and particularly with the issue of how to create a women idol.
When studying gender roles in history, one will find that females are often depicted in similar ways no matter the era or region of study. Even when comparing the industrialized, early, twentieth century to today’s progressive era, there are striking similarities between female roles. We can see that over the course of the twentieth century, the qualities of loyalty and honesty have decreased in marriages due to the treatment of the two main female roles as depicted literature. The first was the role of the wife. The wife was often portrayed as a housekeeper and a nanny. Dull in appearance, there was no aesthetic beauty to this typical female. The other main role was the “other woman.” The more mysterious and promiscuous character, this woman portrayed the other part of the female population. Both of these types of characters are composites that portrayed the average, disposable female while how they were treated conveyed the general handling of females in the early, twentieth century.
Hicks, Carola. "Girl in a Green Gown: The History and Mystery of the Arnolfi Portrait.”
Delamotte, Eugenia C. reprinted in Twentieth-Century Literary Criticism Vol. 37. Ed. Paula Kepos. Detroit: Gale Research Inc., 1991.
Society often views individuals that do not conform to its expectations as separate from the societal group. The Story of the Marquise-Marquis de Banneville, by Charles Perrault, François-Timoléon de Choisy, and Marie-Jeanne L’Héritier follows two main characters, one of which does not fully conform to binary gender presentation. The Girl with the Golden Eyes, authored by Honoré de Balzac, portrays an “oriental” woman as an object to be purchased and used. In Le Roman de Parthenay Ou Le Roman de Melusine, written by Coudrette, the heroine is a half human, half fairy who holds great power. In this paper, I argue that the majority of biologically female protagonists in these novels exist in-between the expectations society has for them, which
Suzanne G. Cusick, who considers herself a speicialist in the life and works of Francesca Caccini, argues that Francesca was a proto-feminist and the music she composed for the Medici court contributed to the career of the Grand Duchess Christine de Lorraine of Tuscany. She therefore claims that through her works, Caccini encourages the sexuality and political aims of women in the early seventeenth century.1
In Rossetti’s poem “In an Artist’s Studio”, she illustrates a man in the art studio surrounded around his canvases. On each of his canvases, he has painted the same woman in different positions, as depicted in, “One selfsame figure sits or walks or leans” (Rossetti 104). This man continuously paints the same women, each time depicting her differently as demonstrated, “A saint, and angel…” (Rossetti 104). Similarly, in McKay’s poem he illustrates for the readers, a dark skinned, half clothed woman dancing. Both of these poems focus on how men view women, and how men idealize women for their beauty, or some other desirable part of them. Both of these poets express that men do not appreciate the wholeness and complexity of both of these women. McKay’s idealized woman is also a woman of colour, which may lead into a discussion of race gender, and sexuality. In Rossetti’s poem, the artist “feeds upon” (Rossetti 104) the object of his affection, “not as she is, but as she fills his dreams” (Rossetti 104). Also, McKay’s narrator idealizes her physical beauty and describes how everyone “devoured” her beauty, even though “her self was not in that strange place” (McKay 18). The main difference is that McKay’s narrator sees his desired woman as having “grown lovelier for passing through a storm” (McKay 18), whereas Rossetti’s artist uses his art to wash away the pain-and by extension, the
Angela Carter was a writer in the 1970s during the third wave of feminism that influenced and encouraged personal and social views in her writing. This is demonstrated through her own interpretation of fairy tales in The Bloody Chamber. She combines realism and fantasy to create ‘magic realism’ whilst also challenging conventions of stereotypical gender roles.
113- The Norton Anthology of English Literature. 6th ed. of the book. Vol.
Rossetti’s use of repetition emphasizes the idea that the artist is able to set expectations for women by controlling who they are, what they do, and what they feel by recreating them through art. Rossetti shows us a woman who is repeatedly being depicted in the artist’s paintings. Repetition of the word “one” (1,2,8) conveys a sense of homogenization: many women