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The role of women in the Victorian era
Victorian era literature
Victorian era literature
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Religion and Relationships in Christina Rossetti’s Work
Our dreams are commonly known as the subconscious manifestations of our inner desires. Creative writing, like dreams, can represent an outlet, a method of pseudo-fulfillment for those unrealized wishes or fears. In the case of much fiction, especially poetry, these hidden triumphs are often so subtle that the reader may not recognize the achievement or the repressed emotion to which it relates.
Christina Rossetti is known as one of the primary female figures of the Victorian Period. The majority of her poetry falls into one of two categories: religion and relationships. Many of her poems on relationships included a theme of death, yet often centered on the relationship between the dead or dying and their loved ones. She wrote a number of poems on love, as well, but these often bring forth a sense of loss, avoidance, fear, or disbelief. Based on some of these love poems and the fact that she was reportedly in love twice during her lifetime, it seems clear that Christina Rossetti was no stranger to the desires of humanity. We, as people, tend to have a natural urge to be seen on a very personal level, to be understood for that which makes us unique, and to be loved in spite of these things. Rossetti’s “religious poetry acknowledged these longings and formed an outlet for them. Many of her ‘poems explore what she saw as the great danger that the Victorian cult of love and marriage posed to the souls of woman’” (Touché 4). She held very strongly to her faith and is reported to have turned down two men whom she dearly loved because of religious differences that she could not overcome. “As a deeply religious woman she was afraid somebody ‘could co...
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...J. and Vivienne J. Rundle, ed. The Broadview Anthology of Victorian Poetry and Poetic Theory. Orchard Park: Broadview Press,1999.
Everett, Glenn. “The Life of Christina Rossetti.” Victorian Web. 26 Nov. 2004. 14 Dec. 2004. <www.victorianweb.org>.
“Maid.” Webster’s New Collegiate Dictionary. 1976.
Rossetti, Christina. “Promises Like Pie-Crust.” Net Poems. 2003. 13 Dec. 2004. <http://www.netpoets.com/classic/poems/052012.htm>.
Touché, Julia. “The Longing for Motherhood and the Concept of Infertility in the Poetry of Christina Rossetti.” Victorian Web. 26 Nov. 2004. 14 Dec. 2004. <www.victorianweb.org>.
“Virgin.” Def. 1a. Webster’s New Collegiate Dictionary. 1976.
Womble, Alison. “Sappho and Christina Rossetti II.” Victorian Web. 26 Nov. 2004. 14 Dec. 2004. <www.victorianweb.org>.
Jane presents one aspect of woman in The Waking collection (1953): Ross-Bryant views Jane as a young girl who is dead. The poem expresses concern with the coming of death. This poignant elegy is presen...
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
MARY D. GARRARD, “Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art”, Princeton, Princeton, University Press, 1989.
On the surface, the poems “Goblin Market” by Christina Rossetti and “The Thorn” by William Wordsworth appear to be very different literary works. “Goblin Market” was written by a young woman in the Victorian period about two sisters who develop a special bond through the rescue of one sister by the other. “The Thorn” was written by the Romantic poet William Wordsworth about a middle-aged man and his experience overlooking a woman’s emotional breakdown. Material to understanding the works “Goblin Market” and “The Thorn” is recognizing the common underlying themes of sex and gender and how these themes affect perspective in both poems.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
...t P. and Stanley B. Greenfield, Old English Poetry: Fifteen Essays, Providence, RI: Brown University Press, 1967
Sofonisba Anguissola was one of the most prominent female painters of the Renaissance. Not only was she one of only four women mentioned by Giorgio Vasari in his famous Lives of the Artists, she also paved the way for later female artists. One may look at Sofonisba’s upbringing and assume that her talents were a result of her wealth and family background. However, if investigated more carefully through both analytical secondary sources and primary sources, it becomes clear that Sofonisba’s painting abilities formed because of her talent, not her wealth. Sofonisba integrated herself into the artistic community and used her second-class status as a female painter to accelerate her career: because she was not able to study as an apprentice in a workshop, her models were usually family members, she pioneered the style of genre painting. Historian Joan Kelly argues in her essay, “Did Women Have a Renaissance?” that women did not experience a Renaissance during the actual Renaissance. Sofonisba’s training and connections were extremely helpful to launch her career, refuting Kelly’s argument that women only were taught “charm” during the Renaissance. In addition, Sofonisba married her second husband for love, not for money, debunking Kelly’s argument that marriages during the Renaissance were not based on love. Though Sofonisba’s life as a woman is a unique case in terms of wealth and profession, her success and fame, talent, and marriage (van dyck?) disprove Kelly’s argument that women did not have a Renaissance during the Renaissance.
Although, the Reign of Terror was seen as a way to let the revolution live and was well supported it was not justified. Because the internal threats propagated radicalism, the external threats raged and became stronger, and the methods became chaotic the Reign of Terror extended its stay in France until the death of the powerful leader Robespierre. The Reign of Terror was an outreach to gain rights but during this period they were taken away until the fateful day of Robespierre’s death ending the Terror.
If accurate, this is a debilitating criticism of Kant’s moral theory as he had intended it. Mill’s critique instead classifies Kant’s moral theory as a type of rule utilitarianism. Any action under Kant’s theory is tested as a general rule for the public, and if the consequences are undesirable, then the general rule is rejected. “Undesirable consequences” are, according to the more precise language of Mill’s utilitarianism, consequences which are not a result of producing the greatest happiness. Mill’s analysis hinges on the lack of logical contradiction found in Kant’s theory. Without a concrete incongruity, Kant may be no more than a rule utilitarian. However, Mill is mistaken; the Categorical Imperative does produce absolute contradictions, as will be demonstrated through examples.
Johnson, Geraldine A. Renaissance Art, A Very Short Introduction. New York: Oxford University Press, 2005.
There are thousands of types of art work all over the world including mural art which is one of the oldest types of art, painted on walls and ceilings that are usually filled with many different colors. Murals show hope, values and memories of the community. Public art is outside of the gallery or museum, public art exist outdoors. It shapes are abstract, realistic, built, etc. Public art is can express community values, and enhance the environment. However, as our evolving culture of technology increase, more of those mural art, and public art are vanishing in the eyes of the people.
During the early seventeenth century, poets were able to mourn the loss of a child publicly by writing elegies, or poems to lament the deceased. Katherine Philips and Ben Jonson were two poets who wrote the popular poems “On the Death of My Dearest Child, Hector Philips”, “On My First Son”, and “On My First Daughter” respectively. Although Philips and Jonson’s elegies contain obvious similarities, the differences between “On the Death of My Dearest Child” and “On My First Son” specifically are pronounced. The emotions displayed in the elegies are very distinct when considering the sex of the poet. The grief shown by a mother and father is a major theme when comparing the approach of mourning in the two elegies.
Child labor is the employment of children, but not all work done by children should be classified as child labor that should be eliminated. Children’s participation in work that does not affect their health and personal development or interfere with their schooling is generally regarded as being something positive. The term “child labor” is defined as work that deprives children of their childhood, interferes with their ability to attend regular school, and that is mentally, physically, socially or morally dangerous and harmful.
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
Colvile, Derek. Victorian Poetry and the Romantic Religion. Albany, NY: State University of New York, 1970. 34-42.