FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W321276516> ?p ?o ?g. }

• W321276516 abstract "bicentenary of the publication of Anna Barbauld's Eighteen Hundred and Eleven (1812) is an appropriate time to consider women's war poetry the early years of the 19th century. In Eighteen Hundred and Eleven, Bad auld attacks the consequences of British empire-building and the Tory establishment that propelled it. criticism Barbauld faced on publication of the poem focused on the impropriety of a woman's voicing political dissent and writing political satire. This critical reception is instructive, Barbauld (who had after all 1793 published an antiwar prose treatise--Sins of Government, Sins of the Nation [...]) was widely respected as an educator, critic, intellectual and (Behrendt [2009]70). In the unstable social and political environment of the early 19th century, women poets who shared Barbauld's concerns, but who could not afford--either financially or reputation--to endure the same criticism, manipulated the presentation of their war poetry to safeguard publication and commercial success, as the writing of Louisa Stuart Costello (1799-1870) demonstrates. Four years before Barbauld published Eighteen Hundred and Eleven, Amelia Opie had produced The Warrior's Return, a poem with a similar message, which she criticised the bloodiness of the wars with France, and die political vanity that had led Britain to enter unnecessary wars. reviews Opie's but she avoided the censure that Barbauld suffered by using the historical distancing of medievalism. medieval screen to her work is thin and the contemporary references obvious, but it provides the safeguard that the poem is a romance about the Crusades, a sentimental work of the type going out of fashion, which was one of the main criticisms made by unfavourable reviewers. Beneath this surface is an anti-war polemic: Sir Walter returns from the Crusades to die Holy Land after fifteen years away at war to the grotesque discovery that he had unwittingly killed his own son a battle for disputed honours over a fallen Saracen chief. In 1808, when the poem was written, the wars with France had been raging for fifteen years, the age of Sir Walter's son, the son he kills through Opie's italics reinforce this emphasis, He fought like a hero! but vainly he fought. message is clear, that political vanity has caused Britain to enter many unnecessary wars and sacrifice her own sons. Opie's Lines on die Opening of a Spring Campaign, from the same volume but written about the contemporary war, also uses this play on in vain and vanity: here the speaker asks Spring to stay away as it will come in vain amid the fighting and the bloodshed, and not to waste itself on the war-torn world. Repetition of in vain is also a feature of lines 11-38 of Eighteen hundred and Eleven, the frantic man at strife is Bounteous vain, the proud mother is Fruitful vain, nature works in vain against Famine, Disease and Rapine. Opie's use of historical distance meant that, while critical reception was unenthusiastic, she avoided the response Barbauld endured four years later. In doing so she had set a precedent for literary descendents throughout the century. Other women turned to Opie's example the post. Eighteen Hundred and Eleven backlash, and used medievalism to question the wars, and women's political roles. Felicia Hemans, like Opie, demonstrates a particular interest the position of women war, that across cultures and through history women have been the victims of men's power struggles and battles, as she explores most obviously Records of Woman (1828). young poet was fascinated by the war: yet, beneath the apparent simplicity of many of her patriotic eulogies, Hemans's work often manifests the same tension that was apparent public opinion of the day, between the enthusiasm that made iconic heroes of Nelson and Wellington, and the concern about the wars that had dominated the first quarter of the century. …" @default.
• W321276516 created "2016-06-24" @default.
• W321276516 creator A5060923693 @default.
• W321276516 date "2012-06-01" @default.
• W321276516 modified "2023-09-27" @default.
• W321276516 title "Louisa Stuart Costello and Women's War Poetry" @default.
• W321276516 doi "https://doi.org/10.1086/twc24043989" @default.
• W321276516 hasPublicationYear "2012" @default.
• W321276516 type Work @default.
• W321276516 sameAs 321276516 @default.
• W321276516 citedByCount "0" @default.
• W321276516 crossrefType "journal-article" @default.
• W321276516 hasAuthorship W321276516A5060923693 @default.
• W321276516 hasConcept C124952713 @default.
• W321276516 hasConcept C142362112 @default.
• W321276516 hasConcept C164913051 @default.
• W321276516 hasConcept C17744445 @default.
• W321276516 hasConcept C199539241 @default.
• W321276516 hasConcept C518914266 @default.
• W321276516 hasConcept C523173360 @default.
• W321276516 hasConcept C7991579 @default.
• W321276516 hasConcept C94625758 @default.
• W321276516 hasConcept C95457728 @default.
• W321276516 hasConceptScore W321276516C124952713 @default.
• W321276516 hasConceptScore W321276516C142362112 @default.
• W321276516 hasConceptScore W321276516C164913051 @default.
• W321276516 hasConceptScore W321276516C17744445 @default.
• W321276516 hasConceptScore W321276516C199539241 @default.
• W321276516 hasConceptScore W321276516C518914266 @default.
• W321276516 hasConceptScore W321276516C523173360 @default.
• W321276516 hasConceptScore W321276516C7991579 @default.
• W321276516 hasConceptScore W321276516C94625758 @default.
• W321276516 hasConceptScore W321276516C95457728 @default.
• W321276516 hasLocation W3212765161 @default.
• W321276516 hasOpenAccess W321276516 @default.
• W321276516 hasPrimaryLocation W3212765161 @default.
• W321276516 hasRelatedWork W117877817 @default.
• W321276516 hasRelatedWork W1551158302 @default.
• W321276516 hasRelatedWork W1743979746 @default.
• W321276516 hasRelatedWork W1978045544 @default.
• W321276516 hasRelatedWork W2062349572 @default.
• W321276516 hasRelatedWork W228159443 @default.
• W321276516 hasRelatedWork W231878541 @default.
• W321276516 hasRelatedWork W2461667334 @default.
• W321276516 hasRelatedWork W247651301 @default.
• W321276516 hasRelatedWork W2479102823 @default.
• W321276516 hasRelatedWork W2494669415 @default.
• W321276516 hasRelatedWork W2503221643 @default.
• W321276516 hasRelatedWork W3035787243 @default.
• W321276516 hasRelatedWork W3039036595 @default.
• W321276516 hasRelatedWork W304798865 @default.
• W321276516 hasRelatedWork W318320285 @default.
• W321276516 hasRelatedWork W3205706117 @default.
• W321276516 hasRelatedWork W58799989 @default.
• W321276516 hasRelatedWork W622676389 @default.
• W321276516 hasRelatedWork W2589552967 @default.
• W321276516 isParatext "false" @default.
• W321276516 isRetracted "false" @default.
• W321276516 magId "321276516" @default.
• W321276516 workType "article" @default.