Relevant bibliographies by topics / Elizabethan culture; Women's poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Elizabethan culture; Women's poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Elizabethan culture; Women's poetry"

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Prins, Yopie. "“LADY'S GREEK” (WITH THE ACCENTS): A METRICAL TRANSLATION OF EURIPIDES BY A. MARY F. ROBINSON." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 591–618. http://dx.doi.org/10.1017/s1060150306051333.

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How to map women's poetry at the end of the nineteenth century was a question already posed by Vita Sackville-West in 1929, in her essay, “The Women Poets of the 'Seventies.” She speculated that the 1870s “perhaps might prove the genesis of the literary woman's emancipation,” as a time of transition when “women with a taste for literature” could follow the lead of Victorian poetesses like Elizabeth Barrett Browning, while also leading women's poetry forward into the future (111). According to Sackville-West, “Mrs. Browning” seemed an exemplary woman of letters to this generation, because “she had been taught Greek; her father had been a man of culture; and she had married a poet” (112). With the formation of women's colleges and the entry of women into higher education, however, another generation of literary women was emerging. What distinguished these new women of letters was a desire for classical education independent of fathers and husbands, demonstrating an independence of mind anxiously parodied byPunchmagazine: The woman of the future! she'll be deeply read, that's certain,With all the education gained at Newnham or at Girton;Or if she turns to classic tomes, a literary roamer,She'll give you bits of Horace or sonorous lines from Homer.Oh pedants of these later days, who go on undiscerningTo overload a woman's brains and cram our girls with learning,You'll make a woman half a man, the souls of parents vexing,To find that all the gentle sex this process is unsexing. As quoted by Sackville-West in her essay (114), this parody is an equivocal tribute to the generation of women just before her own. Although (in her estimation) the women poets of the seventies produced “nothing of any remarkable value,” nevertheless she admired their intellectual ambition: “a general sense of women scribbling, scribbling” was the “most encouraging sign of all” that the woman of the future was about to come into being, as an idea to be fulfilled by the New Woman of thefin de siècle(131).
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Chapman. "Poetry, Network, Nation: Elizabeth Barrett Browning and Expatriate Women's Poetry." Victorian Studies 55, no. 2 (2013): 275. http://dx.doi.org/10.2979/victorianstudies.55.2.275.

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LaPorte, Charles. "ATHEIST PROPHECY: MATHILDE BLIND, CONSTANCE NADEN, AND THE VICTORIAN POETESS." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 427–41. http://dx.doi.org/10.1017/s1060150306051254.

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Scholars of nineteenth-century women's poetry often recount that the sentimental piety – indeed, the quasi-religiosity – of the Victorian “poetess” disappears from women's poetry in the mordant irony of thefin de siècle.Virginia Blain, for instance, has recently identified Mathilde Blind and Constance Naden as representatives of “the new breed of post-Darwinian atheists” that comes to replace an earlier, implicitly Christian feminine tradition associated with Elizabeth Barrett Browning (Blain 332). On a related note, I have recently proposed that George Eliot'sLegend of Jubalcollections (1874, 1878) present a rather late instance of this poetess tradition (LaPorte 159–61). In what follows, I would like to argue thatfin-de-siècleiconoclasts such as Blind and Naden actually work hard to reclaim and redeem some of the prominent religious elements of the mid-century poetess tradition, and that Eliot's unusual combination of sentimental piety and religious skepticism gives them a particularly useful model for doing so.
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Furth, Charlotte. "Poetry and Women's Culture in Late Imperial China: Editor's Introduction." Late Imperial China 13, no. 1 (1992): 1–8. http://dx.doi.org/10.1353/late.1992.0001.

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Xu, Sufeng. "The Rhetoric of Legitimation: Prefaces to Women's Poetry Collections from the Song to the Ming." NAN NÜ 8, no. 2 (2006): 255–89. http://dx.doi.org/10.1163/156852606779969798.

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AbstractThis paper investigates the legitimation of women's literary culture in the late Ming by examining the rhetoric in male-authored prefaces to women's poetry collections produced from the Song to the Ming. It aims to show that the very strategy of associating women's poetry with the Shijing was not only a late imperial phenomenon as often assumed, but a general approach in Neo-Confucian scholarship beginning in the Northern Song. Furthermore, this article demonstrates that the late Ming preface-writers often associated folk songs and "licentious songs" (yin shi) with the Shijing to legitimize the unorthodox. It concludes that the anthologizing of women's poetry and the promotion of women's culture in the late Ming functioned more as opportunities or strategies for male literati to negotiate and sustain their unofficial power than as genuine efforts to construct a canon of women poets.
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LaMonaca. "Christian and Lyric Tradition in Victorian Women's Poetry, by F. Elizabeth Gray." Victorian Studies 52, no. 4 (2010): 667. http://dx.doi.org/10.2979/vic.2010.52.4.667.

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Hammond, Gerald, and William Zunder. "The Poetry of John Donne: Literature and Culture in the Elizabethan and Jacobean Period." Modern Language Review 82, no. 1 (January 1987): 164. http://dx.doi.org/10.2307/3729925.

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Chapman, Alison. "Mesmerism and Agency in the Courtship of Elizabeth Barrett and Robert Browning." Victorian Literature and Culture 26, no. 2 (1998): 303–19. http://dx.doi.org/10.1017/s1060150300002436.

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It has not passed unnoticed that the courtship of Robert Browning and Elizabeth Barrett coincides with Barrett's ambivalent fascination for mesmerism. But what has not been explicated is the interrelationship between mesmeric agency, the courtship correspondence, and Barrett's autobiographical Sonnets from the Portuguese. Daniel Karlin has suggestively described Barrett's representation of her suitor as an erotic mesmerist, to Browning's discomfort, but Karlin assumes the familiar stereotype of mesmeric power as an unproblematic operation of a dominant male practitioner upon a passive female patient. This essay critiques such an assumption, and suggests that a revised model of mesmeric influence helps elucidate not only Barrett's representation of the courtship in the letters and the Sonnets, but literary influence as well. If Barrett depicts herself in the thrall of a mesmeric agency, then how do we read what is interpreted by feminist critics as her revolutionary active subject position in the Sonnets, which has been taken as the transformation of Victorian women's poetry?
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Frontain, Raymond-Jean. "Review: The Poetry of John Donne: Literature and Culture in the Elizabethan and Jacobean Period." Christianity & Literature 34, no. 4 (September 1985): 70–71. http://dx.doi.org/10.1177/014833318503400417.

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Mason, E. "Women's Poetry and Religion in Victorian Britain: Jewish Identity and Christian Culture." Notes and Queries 51, no. 1 (March 1, 2004): 97–98. http://dx.doi.org/10.1093/nq/51.1.97.

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Dissertations / Theses on the topic "Elizabethan culture; Women's poetry"

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Smith, Rosalind. "Gender, genre and reception : sonnet sequences attributed to women, 1560-1621." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363677.

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Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.

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Perry, Katherine Denise. "Gender on paper gender performances in American women's poetry 1650-present /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Dissertations/PERRY_KATHERINE_13.pdf.

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Muñoz, Tracy Manning. "Peripheral Visions: Spanish Women's Poetry of the 1980s and 1990s." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149000160.

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Abdulrahim, Safaa. "Between empire and diaspora : identity poetics in contemporary Arab-American women's poetry." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/19525.

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This dissertation aims to contribute to the burgeoning field of Arab-American feminist critique through an exploration of the work of four contemporary Arab-American women poets: Etel Adnan (1925-), a poet and a visual artist and a writer, Naomi Shihab Nye (1952-), poet, a song writer, and a novelist, Mohja Kahf (1967-), a poet, an Islamic feminist critic and author, and Suheir Hammad (1973-), a hip-hop poet and political activist. The study traverses the intersections of stereotypical racial and Orientalist discourses with which these women contend, and which have been further complicated by being shaped against the backdrop of the “War on Terror” and hostility against Arabs, Muslims and Arab-Americans in the post-September 11 era. Hence, the study attempts to examine their poetry as a tool for resistance, and as a space for conciliating the complexities of their hyphenated identities. The last two decades of the twentieth-century saw the rise of a rich body of Arab-American women writing which has elicited increasing academic and critical interest. However, extensive scholarly and critical attention was mainly drawn to novels and non-fiction prose produced by Arab-American women writers as reflected in the huge array of anthologies, journal articles, book reviews and academic studies. Although such efforts aim to research and examine the racial politics that have impacted the community and how it relates to feminist discourses in the United States, they have rarely addressed or researched how the ramifications of these racialised politics and discourses are articulated in Arab-American women’s poetry per se. Informed by a wide range of postcolonial and United States ethnic theory and criticism, feminist discourses of women of colour such Gloria Anzaldúa's borderland theory, and Lisa Lowe's discussions of ethnic cultural formations in addition to transnational feminism, this study seeks to lay the groundwork for a complex analysis of Arab-American feminist poetics, based on both national and transnational literary approaches. The dissertation addresses the following questions: how does the genre of poetry negotiate identity politics and affiliations of belonging in the current polarized and historical moment? How do these women poets challenge the troubling oppressed/exoticised representations of Arab/Muslim women prevalent in the United States mainstream culture? How does each of these poets express their vision of social and political transformation? Emphasising the varying ethnic, religious, national, political, and cultural backgrounds and affiliations of these four poets, this dissertation attempts to defy any notion of the monolithic experience of Arab-American women, and argues for a nuanced understanding of specificity and diversity of Arab-American feminist experiences and articulations. To achieve its aim, the study depicts the historical evolution of Arab women’s poetry in the United States throughout four generations in order to examine the deriving issues and formative elements that contributed to the development of this genre, and also to pinpoint the defining characteristics marking Arab-American women poetry as a cultural production of American women of Arab descent. Through close readings and critical analyses of texts, the dissertation offers an investigation of some of the major themes and issues handled by these Arab-American women to highlight the most persistent tropes that mark this developing literary genre. Eventually, this study shows how literature, and specifically poetry becomes a conduit to investigate Arab-American cultural and sociopolitical conditions. It also offers productive explorations of identities and representations that transcend the rigid essential totalising categorisation of identity, while attempting to forge a new space for cultural translation and social transformation.
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Burk, Chelsea D. "Poetics of the document and documentary poetics : documentary poetry by women, 1938-2015." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6711.

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This project reconceives the methods critics use to define and analyze the critical field of documentary poetry. Although scholarship on documentary in the visual arts abounds, literary criticism that explores poetry through a documentary lens is sparse. Documentary poetics criticism focuses almost exclusively on socioeconomic class within the poems and on defining the genre. Critics have not attended to the ways that the category “document” inflects this poetic arena. I argue that documentary poetics includes engagement with specific documents and with the power they hold within a given historical moment. This requires attending to what I call document culture: a document’s visual and stylistic norms, in addition to the customs of its subject matter and material/medium. In addition to contributing to critical theory, this project traces documents’ shift from the twentieth century into the twenty-first from wood pulp to strings of code. I focus on representative collections of poetry that foreground the effects particular documents, like congressional hearings, dictionaries, and social media posts, have on people based on their position within the society in which they live. These documentary poems function differently than other poems that engage documents. A second category, poem-documents, interrogate the historical genre of English-language poetry in the nominally postcolonial US, with special focus on the African and Jewish diasporas, and experiences of indigenous people in the colonizing nation. These poems confront the genre’s social position and critically-imposed limitations to demonstrate poetry’s potential to act as a document that names and remembers injustices. My project emphasizes poetry by women, particularly women of color, in order to revise documentary poetics criticism’s interest in class and style to include textual resonances of race, gender, sexuality and nation. Just as the collections documentary poets offer are interdisciplinary in ethos, so is this project, with roots in documentary studies, media studies, feminist criticism, queer studies, and critical race studies in addition to literary criticism. Each chapter of this project follows the slippage between poem-documents and documentary poems. Chapter one grounds documentary culture in Muriel Rukeyser’s The Book of the Dead (1938), widely considered to be the first American documentary poem. I juxtapose Rukeyser’s interest in document cultures and theory of poetry’s ethical possibilities in The Life of Poetry (1949) with, in Chapter two, Irena Klepfisz’s A Few Words in the Mother Tongue: Poems Selected and New 1971-1990, a collection that reframes lyric poetry as mode of documentation. Chapter three places Harryette Mullen’s critique of English-language reference texts and the accumulations of connotative meaning, Sleeping with the Dictionary (2002), in conversation with M. NourbeSe Philip’s Zong! (2008), which re-documents African women’s experiences of the trans-Atlantic slave trade. The final chapter addresses Citizen (2014), in which Claudia Rankine re-envisions the archive of anti-black racism to include speech and Conflict Resolution for Holy Beings (2015), Joy Harjo’s polyvocal and iconoclastic collection that uses poetry to redefine the archive’s temporality in a way that might counter the erasure of indigenous peoples in the Americas. The nuanced ruminations these poets offer illustrate that, as an area of study with its own investments, interests, and modes of inquiry, critical documentary poetics has just begun.
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Francis, Emma Jane. "Poetic licence : British women's poetry and the sexual division of poetics and culture - 1824-1889, Letitia Landon, Amy Levy, Emily Bronte." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309912.

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Gibson, Alanna Marie. "Salome: Reviving the Dark Lady." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398693802.

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Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.

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You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
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Calahorrano, Sandy Paola. "The corporeal activism of Nahui Olin and Nidia Díaz: a feminist performance of social defiance." Thesis, 2017. https://hdl.handle.net/2144/27359.

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This dissertation analyzes the performance praxis of the Mexican poet Nahui Olin (1893-1978) and the Salvadoran guerrilla leader and author Nidia Díaz (1952-). Through their self-representation in images and texts, these two women subverted the discourse of power characteristic of their respective cultural and historical contexts. Whereas Olin carried out her “corporeal activism” through defiant eroticism; Díaz did so through her stoic stance in the face of incarceration and torture. The dissertation carries out visual analyses enriched by attention to literature, and literary analyses informed by visual culture. In their respective approaches to performance these two figures engage with their sociopolitical contexts as they relate to women’s condition and the quest for spiritual liberation. The first chapter presents the dissertation’s theoretical framework. Michel Foucault, Judith Butler and Elaine Scarry’s theories are crucial to understanding the concepts of body, discourse of power, performance, and pain; Gillian Rose’s approach is essential to analyzing images; Lucia Guerra-Cunningham and Rita Felski are fundamental for addressing women’s writing. The second chapter focuses on Olin’s activism, evident in her role as a “flapper,” her transgressive nude photographs and her poems written during the Mexican post-revolutionary period and which were influenced by avant-garde movements. My analysis links the key photograph I call “Nahui Olin Andrógina” with her poetry, centering on the trope of androgyny as a mystic state. The third chapter examines the naïf self-portraits and testimonio found in Díaz’s Nunca estuve sola (in 1988), which she narrates her imprisonment during El Salvador’s civil war of the 1980’s. My analysis centers on the trope of stoicism manifested in her drawing I call “Una ‘mesías’ que deviene en la madre del pueblo” as well as in the prose of her testimonio. Olin’s erotic activism and Díaz’s armed rebellion both represent attempts to achieve human liberation, including their own as oppressed women, and suggested emancipatory paths that may serve as models for others.
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Books on the topic "Elizabethan culture; Women's poetry"

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Women's poetry and religion in Victorian England: Jewish identity and Christian culture. Cambridge, UK: Cambridge University Press, 2002.

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Women's poetry and popular culture. New York: Palgrave Macmillan, 2011.

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Barash, Carol. English women's poetry, 1649-1714: Politics, community, and linguistic authority. Oxford: Clarendon Press, 1996.

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E, Pritchard R., ed. English women's poetry: Elizabethan to Victorian. Manchester [England]: Carcanet Press, 1990.

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Women's Poetry and Popular Culture. Palgrave Macmillan, 2013.

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Kennedy, Sue, and Jane Thomas, eds. British Women's Writing, 1930 to 1960. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621822.001.0001.

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British Women Writers 1930 – 1960: Between the Waves contributes to the vital recuperative work on mid-twentieth century writing by and for women. Fourteen original essays from leading academics and emerging critical voices shed new light on writers commonly dismissed as middlebrow in their concerns and conservative in their styles and politics. The essays showcase the stylistic, cultural and political vitality of the fiction, non-fiction, drama, poetry and journalism of a selection authors including Vera Brittain, Storm Jameson, Nancy Mitford, Phyllis Shand Allfrey, Rumer Godden, Attia Hosain, Doris Lessing, Kamala Markandaya, Susan Ertz, Marghanita Laski, Elizabeth Bowen, Edith Pargeter, Eileen Bigland, Nancy Spain, Vera Laughton Matthews, Pamela Hansford Johnson, Dorothy Whipple, Elizabeth Taylor, Daphne du Maurier, Barbara Comyns, Shelagh Delaney, Stevie Smith and Penelope Mortimer. The neologism ‘interfeminism’, coined to partner Kristin Bluemel’s ‘intermodernism’, locates this group chronologically and ideologically between two ‘waves’ of feminism, whilst forging connections between the political and cultural monoliths which have traditionally overshadowed its members. Drawing attention to the strengths of this ‘out-of-category’ writing, the volume also highlights how intersecting discourses of gender, class and society in the inter- and post- bellum anticipate the bold reassessments of female subjectivity that characterize second and third wave feminism. Exploration of popular women’s magazines of the period, and new archival material, add an innovative dimension to this study of the literature of a volatile and transformative period of British social and cultural history.
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Barash, Carol. English Women's Poetry, 1649-1714: Politics, Community, and Linguistic Authority. Oxford University Press, USA, 2000.

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Barash, Carol. English Women's Poetry, 1649-1714: Politics, Community, and Linguistic Authority. Oxford University Press, USA, 1997.

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Berkowitz, Amy. Tender Points. Nightboat Books, 2019.

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Tender Points. Timeless, Infinite Light, 2015.

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Book chapters on the topic "Elizabethan culture; Women's poetry"

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Jones, Norman L. "Of Poetry and Politics: The Managerial Culture of Sixteenth-Century England." In Leadership and Elizabethan Culture, 17–36. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137340290_2.

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Bell, Ilona. "The Art of Poetry, the Art of Courtship: Elizabeth I and the Elizabethan Writing Culture." In Elizabeth I, 7–30. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107861_2.

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Stewart, Dustin D. "Dunton and Singer after the Athenian Mercury: Two Plots of Platonic Love." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0006.

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Dustin Stewart revisits the well-known but poorly understood relationship between John Dunton and Elizabeth Singer Rowe, the ‘Pindarick Lady’ whose poetry became a major feature of Dunton’s game-changing Athenian Mercury (1691–7). Rowe’s periodical verse, often downplayed by modern critics, was pivotal in shaping her future fame and career, argues Stewart, as she and Dunton, as well as contemporary figures such as John Norris and Mary Astell, navigated differing views on the theme of ‘Platonick Love.’ Through Dunton, Rowe evolved from reader to periodicalist to poet, making good use of her early work and eventually leaving Dunton behind.
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"Introduction." In Women, Periodicals and Print Culture in Britain, 1830s-1900s, edited by Alexis Easley, Clare Gill, and Beth Rodgers, 395–98. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433907.003.0043.

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WHEN AURORA LEIGH, the eponymous poet-protagonist of Elizabeth Barrett Browning’s (1806–61) epic ‘novel in verse,’ discovers that ‘In England, no one lives by verse that lives,’ she moves beyond the rarefied sphere of poetry to secure a regular income by writing for the periodical press (1993: 3.307). Like many Victorian poets, Aurora writes for ‘cyclopedias, magazines, / And weekly papers’ (3.310), undertaking what she considers to be inferior hack work that appeals to the taste of ‘light readers’ (3.319). For Aurora, poetry, as a cerebral and pure form of art, should not be tainted by the vulgar dictates of the commercial marketplace. While Barrett Browning would have acquiesced with the spirit of the value-laden dichotomy that Aurora identifies between writing for art and writing for the market, she nevertheless balanced her own sense of poetry’s elevated artistic value against a pragmatic understanding of the cultural and economic significance of periodicals for the careers of literary authors. Her first publicly published poems appeared in the ...
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Cox, Octavia. "The Lady’s Poetical Magazine and the Fashioning of Women’s Literary Space." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0009.

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This chapter offers a detailed account of the place of women poets in the Lady’s Poetical Magazine (1781–2), a periodical that ran to four volumes under the editorship of the entrepreneurial James Harrison. Octavia Cox begins by interrogating the physical space that women writers occupy in the Lady’s Poetical Magazine as well as other contemporary publications (especially George Colman and Bonnell Thornton’s Poems by Eminent Ladies and Oliver Goldsmith’s Poems for Young Ladies), as well as considering the periodical’s contribution to eminent women’s canonisation in the late-century. The chapter proceeds to detail Harrison’s own poetic contributions before turning to the many poets the magazine published and the self-circumscription these writers performed and the self-liberation they attempted. In light of the case of writers such as Lady Mary Wortley Montagu, Susan Scott (Susan Carnegie) and Elizabeth Carter, Cox concludes that Harrison’s publication constructed a vital space in which women poets contested and challenged authorial ‘female-ness’.
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Cummings, Brian. "Philosophical Poetry." In Fulke Greville and the Culture of the English Renaissance, 29–46. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823445.003.0002.

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Fulke Greville is well known as the author of philosophical treatises in verse, but what does it mean to be a philosophical poet? This chapter considers the idea of philosophical poetry in Greville, not by assessing philosophical ideas in his poetry, but by understanding how poetry for him is a specific and creative way of doing philosophy. To do this, the chapter considers the unusual metrical device of the ‘feminine ending’, usually defined as a line with a hypermetric extra foot. Sidney theorizes about this as well as practising it, and several Elizabethan poets, including Shakespeare as well as Greville, specialize in it. The chapter concludes by discussing how the ‘feminine ending’ is associated especially with expressing mental doubt, qualification, or scepticism.
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Batt, Jennifer. "Women’s Poetry in the Magazines." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0007.

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Nearly every monthly magazine published in the eighteenth century had a poetry section, a regular slot given over in each issue to poetic expression of all kinds, written by a broad range of writers, both male and female, provincial and metropolitan, amateur and established. This chapter assesses the place that women poets, both familiar and unfamiliar, occupied in the rich poetic culture that made magazines possible. Jennifer Batt’s case studies are drawn from national periodicals such as the Gentleman’s Magazine (1731–1922), London Magazine (1732–85) and British Magazine (1746–51), as well as from regional magazines. Collectively, these examples shed light on the possibilities that periodicals made available to female poets (of giving them a voice, a readership, a public profile and place within a poetic community). At the same, Batt demonstrates that women could be exploited by the medium and its editorial practices (publishing without author consent, for instance, or intrusive framing of poems) in ways that have overdetermined women poets’ critical reception.
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Entwistle, Alice. "Post-pastoral perspectives on landscape and culture." In The Cambridge Companion to Twentieth-Century British and Irish Women's Poetry, 136–53. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521197854.009.

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Degl’Innocenti, Luca. "Reading the Poem ‘in the Very Picture’." In Ariosto, the Orlando Furioso and English Culture, 50–68. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0003.

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The international success of the Orlando Furioso would be hard to describe without the accompanying images. Virtually no early modern edition of Ariosto’s poem was published without a visual paratext. The English reception of the Orlando Furioso was no different, as illustrations were a vital component in the first edition of Harington’s translation (1591), whose 46 full-page plates imitated those published in Venice in 1584, with few and yet very significant changes. This essay discusses some new findings about the visual sources of the scenes added to the plate for Book 28, which shed new light on Harington’s approach to the Orlando Furioso and to Italian literature and culture. On the one hand, the picture shows that he knew an edition of the anonymous excerpt of canto 28 which circulated in Italy under the title of Historia del Re di Pavia, thus confirming the prominence and possibly also the priority of that canto in Harington’s work on the poem. On the other hand, some obscene additions aimed at enhancing the visibility of Ariosto’s most lascivious novella in defiance of the Puritan attacks against the Italianate vogue, appear so clearly related to the underground circulation of Aretino’s Sonetti lussuriosi in Elizabethan England as to urge a reconsideration of the balance between moralism and hedonism in Harington’s theory and practice of poetry.
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