By Kyriaki Hadjiafxendi, Polina Mackay
This publication maps the terrain of Anglo-American authorship because it shifts from a theoretical to a extra fabric method of its learn in contexts famous as key to its improvement: the nineteenth-century literary industry, twentieth-century experimentalism and postmodern tradition. Gender and (post)colonial matters round authorial id and literary paintings are additional explored on the subject of publishing regulations, image media, and the web.
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Extra resources for Authorship in Context: From the Theoretical to the Material
Under these impressions, we shrank from criticizing a lady’s novel: her English might be faulty, but, we said to ourselves, her motives are irreproachable; her imagination may be uninventive, but her patience is untiring.
324). Her concern with the negative construction of stereotypes of the female author and reader in periodical reviews was complicit with contemporary patriarchal ideologies associating high art with masculinity and commercial art with femininity. Her partner, George Henry Lewes, for example, argued that there was no writer who was not haunted by the terror of the ‘lady reader’ and what she could exclaim. In his letter of 3 May 1857 to John Blackwood, he characteristically described the reader of ‘silly novels’ as a wet blanket on a writer’s shoulders (Eliot, 1954–78, vol.
In his letter of 3 May 1857 to John Blackwood, he characteristically described the reader of ‘silly novels’ as a wet blanket on a writer’s shoulders (Eliot, 1954–78, vol. 2, p. 325). Despite the ideological limitations of her critique, Eliot tried to address the critical double standard that defined female authors and readers as lesser and inferior than men. She blamed the institution of criticism for encouraging female readers to see themselves as part of a ‘common novel reading class’ public as contrasted to that of ‘the most cultured sort’ (Eliot, 1954–78, vol.
Authorship in Context: From the Theoretical to the Material by Kyriaki Hadjiafxendi, Polina Mackay