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 choice of narrator is crucial to this critique of narrative discourse and private
life . The delimiting structure of romance is impugned by Gaskell ' s installation of
a key figure who is able to represent both narrative authority and its revocation .
The choice of narrator is crucial to this critique of narrative discourse and private
life . The delimiting structure of romance is impugned by Gaskell ' s installation of
a key figure who is able to represent both narrative authority and its revocation .
Page 59
But it is also characteristic of its narrator who , denied her ' compromise with Fate '
, is pitched from one tempest to the next , one significant incident or confrontation
or resolution to the next , unable , as she laments , to ' escape great agonies ...
But it is also characteristic of its narrator who , denied her ' compromise with Fate '
, is pitched from one tempest to the next , one significant incident or confrontation
or resolution to the next , unable , as she laments , to ' escape great agonies ...
Page 88
The narrator , pausing with Farmer Oak to survey Bathsheba surveying herself ,
remarks that the picture was a delicate one ' ( p . 10 ) , in which the ' dressing
hour in a bedroom ' is transferred toʻa time of travelling out of doors ' ( p . 10 ) .
The narrator , pausing with Farmer Oak to survey Bathsheba surveying herself ,
remarks that the picture was a delicate one ' ( p . 10 ) , in which the ' dressing
hour in a bedroom ' is transferred toʻa time of travelling out of doors ' ( p . 10 ) .
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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