Catherine Butler, Ann Alston (dir.), Children’s Literature in the Long 19th Century, Routledge, 2021.
In this collection the multidimensional story of children’s literature in the formative period of the long nineteenth century is illuminated, questioned, and, in some respects, rewritten.
Children’s literature might be characterised as the love-child of the Enlightenment and the Romantic movements, and much of its history over the long nineteenth century shows it being defined, shaped, and co-opted by a variety of agents, each of whom has their own ambitions for it and for its child readership. Is children’s literature primarily a way of educating children in the principles of reason and morality? A celebration of the Rousseauesque child? A source of pleasure and entertainment? Women, both as writers and as nurturers involved at an intimate and daily level with the raising of children, recognised early and often very explicitly the multiple capacities of literature to provide entertainment, useful information, moral education and social training, and the occasionally conflicting nature of these functions.
This book was originally published as a special issue of Women’s Writing.
Table of Contents:
Introduction 1. The British Reception of Genlis’s Adèle et Théodore, Preceptive Fiction and the Professionalization of Handmade Literacies 2. The Metropolis and Female Citizenship in Mary Wollstonecraft’s Original Stories from Real Life 3. Satirical Conservatism in Catherine Ann Dorset’s Papillonades 4. « How One Subject Springs Out of Another! »: The Strickland Family and Early Nineteenth-Century Children’s Literature 5. « Marietza »: An Example of Catherine Maria Sedgwick’S Depiction of the « Other » in Her Books for Children 6. American Woman: Feminine Speech and the Reformation of National Identity through Female Community in Louisa May Alcott’s An Old-Fashioned Girl 7. The Empire Girl Goes to War: Bessie Marchant’s World War I Fiction
The Frankenstein Notebooks. Part Two Draft Notebook B and Fair-Copy Notebooks C1 and C2, édité par Charles E. Robinson, Routledge, 2021.
Mary Shelley’s Frankenstein is arguably the best known work of the English Romantic period. First published in 1996, this edition of The Frankenstein Notebooks contains not only facsimiles and transcriptions of all of surviving manuscripts related to the novel and a corrected, critical text of Frankenstein (or The Modern Prometheus) but also a full range of factual information, drawn from Shelley’s and William Godwin’s letters and journals, from newspaper ads of the day, and from other available scholarship about the conception, gestation, and birth of Mary Shelley’s monster.
This two volume set contains a wealth of information vital to the creation and reception of Frankenstein. It will enable scholars, critics and students to see for themselves the exact extent of P. B. Shelley’s editorial contributions and trace the artistic and ideological development of the novel at various stages in its formation. It will also enable the reader to explore the text itself to test and evaluate their own theses. Part two contains the draft notebook B, which was written between December 1816 and April 1817, and the fair-copy notebooks which were compiled between April and May 1817.
This set will be of keen interest to those studying Frankenstein, the Romantics and 19th century literature.
Table of Contents:
The Frankenstein Notebooks: Photofacsimiles and Transcriptions; Appendix A: Parallel Texts of Draft and Extant Fair Copy; Appexndix B: Parallel Texts of PBS and MWS Fair Copies; Appendix C: Photofacsimiles of the Cyrus Fragment
Sous la direction de Diana Holmes (University of Leeds), Martine Reid (université de Lille) et Anne Tomiche (Sorbonne Université)
21-22 janvier 2021
Maison de la recherche de la Sorbonne,
28 rue Serpente, 75006 Paris
La fin du XIXe siècle et la Belle Epoque se caractérisent notamment par un nombre croissant d’auteures, poètes, romancières, dramaturges et journalistes. Certaines d’entre elles connaissent une visibilité incontestable et une notoriété exceptionnelle : appartenant au Tout-Paris littéraire du temps, elles comptent de plus au nombre des auteurs les mieux rémunérés. Tel est le cas de Jeanne Loiseau, qui, sur la recommandation de son éditeur, a pris en littérature le pseudonyme de Daniel Lesueur (elle épousera plus tard Henry Lapauze, conservateur au musée du Petit-Palais).
Continuer la lecture de APPEL : Colloque international « Daniel Lesueur » (1854-1921)