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• W320293874 abstract "BORDERLINES: THE SHIFTINGS OF GENDER IN BRITISH ROMANTICISM. By Susan J. Wolfson. Stanford: Stanford University Press, 2006. Pp. xxii + 430. ISBN 13:978-0- 8047-5297-8. £44.95. This is a rich and rare Californian vintage: matured for two decades, it has depth and subtlety and must be lingered over. Byronists all know Wolfson's sharp articles on cross-dressing in Don Juan and gender performance in Sardanapalus, and her analysis of the ideology of form in The Corsair. The most meticulous and exhaustive of critics, she has revisited and tested the borderlines of the two former pieces, expanding them into long chapters at the heart of this book. The other sections on Byron's contemporaries, Felicia Hemans, Maria Jane Jewsbury and Keats, demonstrate that a binary of 'masculine' and 'feminine' writing was not unique to the author of Don Juan. The no-man's-land between was regularly patrolled by contemporary critics from Hazlitt to Carlyle, who attempted to reinforce the status quo by castigating undue experimentation with Coleridgean androgyny by writers of either sex. The editor of Keats and Hemans, the pioneer of a new formalist criticism in The Questioning Presence and Formal Charges, in this new book Wolfson moves the story of gender and Romanticism on from its obsession with the revolutionary decade of the 1790s and instead offers here a very welcome concentration on the neglected era of the 1820s and 1830s. Eschewing the sweeping formula (espoused in the early 1990s by Margaret Homans, Anne Mellor and Marlon Ross) of a 'masculine' Romanticism of egotistic subjectivity versus the 'feminine' ideology of women writers, Wolfson positions her chosen writers facing down gender division on the same ground rather than orbiting in separate spheres or transversing only the overlapping edge of each other's circles. Though male and female writers have their own separate sections in the book, there is parity in approach and coverage, and there are also two general chapters that balance Wolfson's usual minute focus on textual particularity with historicist surveys of the whole era. From 1790s Wollstonecraftian radicalism we move to the nervous conventionality of poetesses such as Hemans and male writers such as Keats who confessed their own feminine weaknesses. By the 1840s, perhaps because of the increasing importance of the female reader, the literary profession itself was seen as effeminised. Taking Mary Wollstonecraft as her model, Wolfson employs a methodology of close reading where gender critique unravels the ideological twists woven into the patterning of syntax, rhyme, metaphor and allusion. She sensitively explores the alienation of a woman artist such as Hemans, who was fulsomely rewarded by her contemporaries but comprehensively despised by twentieth-century feminists for complying with the conduct book ideal of the lady writer. Jewsbury, in contrast, was admired for her 'masculine' intellectual energy, while always alert to her own self-division regarding femininity. Wolfson takes on the critics to paint a much more positive picture of Jewsbury's career: paying tribute to the latter's frank rendering of a 'female negative capability, when a woman is capable of being in uncertainties, mysteries, doubts' in The History of an Enthusiast. Gender critique is at its best when it can be shown how sexual categories are entwined in ideology together with other social divisions such as rank and race. So, to my mind, Wolfson is particularly enlightening in the chapter on Sardanapalus, where she is sensitive to the way effeminacy in the 1820s signalled not merely a character's sexual orientation but his culture's aristocratic decadence, dependence on oriental luxury and modern preference for domesticity and civil society over traditionally masculine military duties. By a minute scrutiny of his journal entries and the process whereby the play was plotted in the intervals of plotting revolution in Italy, Wolfson shows how Byron's reservations about the effeminacy of substituting writing for action were explored in the paradoxes of this most modern of tragedies. …" @default.
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• W320293874 title "Borderlines: The Shiftings of Gender in British Romanticism" @default.
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