Mistress of the House: Women of Property in the Victorian NovelThis exploration of gender and property ownership in eight important novels argues that property is a decisive undercurrent in narrative structures and modes, as well as an important gender signature in society and culture. Tim Dolin suggests that the formal development of nineteenth-century domestic fiction can only be understood in the context of changes in the theory and laws of property: indeed femininity and its representation cannot be considered separately from property relations and their reform. He presents original readings of novels in which a woman owns, acquires or loses property, focusing on exchanges between patriarchal cultural authority, the 'woman question' and narrative form, and on the place of domestic fiction in a culture in which property relations and gender relations are subject to radical review. Each chapter revolves around a representative text, but refers substantially to other material, both other novels and contemporary social, legal, political and feminist commentary. |
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Page 104
CHAPTER SIX Mistress of herself : Diana of the Crossways ' And what comes
after the independence ? ' he inquired . ( Meredith , 1910a , p . 328 ) George
Meredith began working on Diana of the Crossways , the story of a ' lady of high ...
CHAPTER SIX Mistress of herself : Diana of the Crossways ' And what comes
after the independence ? ' he inquired . ( Meredith , 1910a , p . 328 ) George
Meredith began working on Diana of the Crossways , the story of a ' lady of high ...
Page 105
Diana of the Crossways by positioning his heroine ' s personal trials , which occur
somewhere between 1836 and 1845 , in relation to the activities of the AntiCorn
Law League and the rise of Chartism , the Irish Famine of 1845 - 8 ( which ...
Diana of the Crossways by positioning his heroine ' s personal trials , which occur
somewhere between 1836 and 1845 , in relation to the activities of the AntiCorn
Law League and the rise of Chartism , the Irish Famine of 1845 - 8 ( which ...
Page 107
The Crossways itself also gives the impression of being at once solidly
substantial ( ' a dark mass of building ' ) and dead : the ' windows all were blind ' (
p . 99 ) , ' facing the Downs with dead eyes ' ( p . 100 ) . The house - bell rings '
like a ...
The Crossways itself also gives the impression of being at once solidly
substantial ( ' a dark mass of building ' ) and dead : the ' windows all were blind ' (
p . 99 ) , ' facing the Downs with dead eyes ' ( p . 100 ) . The house - bell rings '
like a ...
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action argues authority becomes belongs Brontė called Caroline chapter character claim collection common concern conventional Cranford critical Crossways culture desire Diana difference domestic effect England English equality expressed fact female feminine fiction figure finally Gaskell gender give hand Hardy Hardy's heroine household husband idea imagination important independent individual influence Jane kind ladies land landscape language live London Lucy marriage married Mary material means Meredith Miss Moonstone moral narrative narrator nature never notes novel passion plot political possession present protected provincial question readers reform relations relationship representation represents resistance rhetoric romance seems sensation sense separate sexual Shirley single social society space story suggests things tion turns University Victorian Villette voice wife woman women writing York