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 48
The delimiting structure of romance is impugned by Gaskell ' s installation of a
key figure who is able to represent both ... In a novel notable as much for its
female impersonators as for its surrogate male authority figures , Mary is perhaps
its ...
The delimiting structure of romance is impugned by Gaskell ' s installation of a
key figure who is able to represent both ... In a novel notable as much for its
female impersonators as for its surrogate male authority figures , Mary is perhaps
its ...
Page 76
If the dialectical figures of master and servant underpin the social allegory of The
Moonstone , and the figures of centre and periphery inform its allegory of empire ,
it is figures of surface and depth that characterize its atmosphere of guilt and ...
If the dialectical figures of master and servant underpin the social allegory of The
Moonstone , and the figures of centre and periphery inform its allegory of empire ,
it is figures of surface and depth that characterize its atmosphere of guilt and ...
Page 116
Meredith approaches this problem by depicting Diana as a fantastically over -
determined figure of the feminine . ... As Marina Warner argues , ' meanings of all
kinds flow through the figures of women , and they often do not include who she ...
Meredith approaches this problem by depicting Diana as a fantastically over -
determined figure of the feminine . ... As Marina Warner argues , ' meanings of all
kinds flow through the figures of women , and they often do not include who she ...
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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