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 54
702 ) , claims that ' Lucy ' s story is enacted through a play of doublings , mirrors ,
and reversals which never entirely come to ... Lucy periodically retreats from and
resists the tyrannical binaries that claim and define her , whether they be the ...
702 ) , claims that ' Lucy ' s story is enacted through a play of doublings , mirrors ,
and reversals which never entirely come to ... Lucy periodically retreats from and
resists the tyrannical binaries that claim and define her , whether they be the ...
Page 74
70 – 1 ) . Colonial relations and class relations are shuttled back and forth from
the centre to the periphery of The Moonstone , making way for the depoliticized
activity of the discovery of the truth ' which the novel claims as its first concern .
70 – 1 ) . Colonial relations and class relations are shuttled back and forth from
the centre to the periphery of The Moonstone , making way for the depoliticized
activity of the discovery of the truth ' which the novel claims as its first concern .
Page 131
In France it is somewhat more equal ; married women have a right , if they marry
without a marriage contract , to claim at the death of a husband half of whatever
he possessed at the time of marriage , or may have gained afterwards .
In France it is somewhat more equal ; married women have a right , if they marry
without a marriage contract , to claim at the death of a husband half of whatever
he possessed at the time of marriage , or may have gained afterwards .
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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