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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
19세기영어권문학회 19세기 영어권 문학 19세기 영어권 문학 제23권 제1호
발행연도
2019.3
수록면
249 - 273 (25page)
DOI
10.24152/NCLE.2019.3.23.1.249

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초록· 키워드

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Christina Rossetti’s poems and the three fin-de-siècle women writers’ stories enable the voice of muses to be heard who have been silenced in English literary history, taking a backseat to male creators. Since (art and knowledge) creation was attributed to the masculine realm, women were debarred from entering the public arena, belittled, replaceable, and nameless muses, deprived of their goddess predecessor’s honor and credit. The attempt to endow credit for muses reflects the late nineteenth-century’s endeavor to acknowledge and compensate for writers’ labor through copyright acts. Sarah Grand’s “The Undefinable: A Fantasia” repositions a muse’s status on Helicon, with more credit for her role, while showing the goddess-like muses present in independent and dignified New Womanhood. Edith Wharton and Vernon Lee’s stories adopt women’s performativity as a means to achieve literary immortality while seemingly conforming to social gender norms of femininity. The poems and stories recover women’s agency as subjects and authoress, surmounting patriarchal derogation and the obstruction of women’s creation.

목차

“Monna Innominata”: Dreaming Mutual Honor
A New Woman Muse: “a free woman, a new creature, a source of inspiration”
“Silvia had herself created the Sonnets to Silvia”: Performing a Muse
“of course as soon as that novel was done with she would drop him”: A Muse’s Triumph
Works Cited
Abstract

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