Relevant bibliographies by topics / Victorian patriarchy

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

Academic literature on the topic 'Victorian patriarchy'

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

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Journal articles on the topic "Victorian patriarchy"

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Barton, Anna Jane. "NURSERY POETICS: AN EXAMINATION OF LYRIC REPRESENTATIONS OF THE CHILD IN TENNYSON'S “THE PRINCESS”." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 489–500. http://dx.doi.org/10.1017/s1060150307051595.

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“THE PRINCESS,”TENNYSON's narrative poem about a radically feminist princess and a cross-dressing prince, framed by an imagined argument between Victorian men and women concerning the role of women in modern society, has, understandably, formed the central text in a number of articles about nineteenth-century gender poetics. Critics have been eager to engage with the fictional authors of the narrative, casting Tennyson as, on the one hand, a bastion of Victorian patriarchy, and on the other a subversive feminist. Donald E. Hall, in an essay, published in his collectionFixing Patriarchy, is the most persuasive advocate for a masculinist Tennyson, presenting “The Princess” as undertaking a project of “subsumption,” in which the words and demands of the women are “ingested, modified and incorporated by the patriarch” (46). In an article entitled: “Marginalized Musical Interludes: Tennyson's Critiques of Conventionality in ‘The Princess,’“ Alisa Clapp-Itnyre provides a representative case for the defence, presenting the lyrics as “pivotal feminist commentaries” that work to interrupt and deconstruct the male narrative (229). Herbert Tucker locates a third way, identifying the poem as a “textbook Victorian compromise” (Tennyson352). He argues that it “avoids taking a position on a hotly debated issue by taking up any number of positions” and characterizes this compromise, not as a commitment to portraying a complex contemporary issue with integrity, but as the result of Tennyson's not caring particularly either way: “neither the rallying of Victorian feminism” he writes, “nor the patriarchal status quo was sufficient stimulus to commitment” (352). In order to open up a new line of enquiry into “The Princess” I would like to look beyond the gender questions that continue to be batted back and forth amongst Tennyson's critics and to offer the figure of the child as an alternative and more powerful cultural, aesthetic and professional stimulus to Tennyson's poem.
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Crosby, Christina, and Donald E. Hall. "Fixing Patriarchy: Feminism and Mid- Victorian Male Novelists." South Atlantic Review 62, no. 4 (1997): 87. http://dx.doi.org/10.2307/3200752.

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Moghari, Shaghayegh. "Portrait of Women in Victorian Novels." International Journal of Language and Literary Studies 2, no. 4 (December 26, 2020): 167–76. http://dx.doi.org/10.36892/ijlls.v2i4.414.

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This article examines the representation of three female characters in three Victorian novels. These three novels are Bleak house, Ruth, and Lady Audley’s Secret. This work is, in fact, a study of how women were viewed in Victorian novels which actually depicted the Victorian society. The society of that time was male-dominated that tried to rule over women unfairly and made them as submissive as possible in order to handle them easily according to their selfish tastes. If women in Victorian society followed the expectations of men thoroughly, they were called angel-in-the-house; if not, they were labeled with negative labels like fallen-woman or mad-woman. This article tries to go through the characters of Esther Summerson, Ruth, and Lady Audley who appeared in the three aforementioned novels respectively in order to prove that the Victorian Society, which was represented in the novels of that period, was a harshly male-dominated society that ruled over women with bitter patriarchy.
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David, Deirdre. "“Art's a Service”: Social Wound, Sexual Politics, and Aurora Leigh." Browning Institute Studies 13 (1985): 113–36. http://dx.doi.org/10.1017/s0092472500005393.

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Elizabeth Barrett Browning's Aurora Leigh has become a key text for feminist critics concerned with nineteenth-century women writers. For some, Aurora Leigh is a revolutionary poem, a passionate indictment of patriarchy that speaks the resentment of the Victorian woman poet through a language of eroticized female imagery. For others, the poem is less explosive, and Barrett Browning's liberal feminism is seen as compromised by Aurora Leigh's eventual dedication to a life governed by traditionally male directives. In my view, however, Aurora Leigh is neither revolutionary nor compromised: rather, it is a coherent expression of Barrett Browning's conservative sexual politics, and I shall argue that female imagery is employed to show that the “art” of the woman poet performs a “service” for a patriarchal vision of the apocalypse. In Aurora Leigh woman's art is made the servitor of male ideal.
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Boos, Florence S. "Sexual Polarities in The Defence of Guenevere." Browning Institute Studies 13 (1985): 181–200. http://dx.doi.org/10.1017/s0092472500005423.

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William Morris's early poetry is striking for its erotic intensity and powerful evocations of passionate and unhappy women. Indeed, his portrayals of confined, alienated, and dependent women are so sharp that they pose some obvious questions. Do they, in the end, simply stylize and project some of the most destructive conventions of Victorian patriarchy? Or do they actually provide some “defence” of female passion and sexuality, against the social hierarchies and emotional suffocation they depict?
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Hamlett, Jane. "“Rotten Effeminate Stuff”: Patriarchy, Domesticity, and Home in Victorian and Edwardian English Public Schools." Journal of British Studies 58, no. 1 (January 2019): 79–108. http://dx.doi.org/10.1017/jbr.2018.171.

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AbstractDuring the nineteenth century, British public schools became increasingly important, turning out thousands of elite young men. Historians have long recognized the centrality of these institutions to modern British history and to understandings of masculinity in this era. While studies of universities and clubs have revealed how fundamental the rituals and everyday life of institutions were to the creation of masculinity, public schools have not been subjected to the same scrutiny. Approaches to date have emphasized the schools’ roles in distancing boys from the world of the home, domesticity, femininity, and women. Focusing on three case-study schools, Winchester College, Charterhouse, and Lancing College, this article offers a reassessment of the relationship between home and school in the Victorian and Edwardian period and contributes to the growing literature on forms of masculine domesticity in the second half of the nineteenth century. In the reformed public schools, the ideal of the patriarchal household was often essential, and in producing it, the presence of significant women—the wives of headmasters and housemasters—could be vital. The schools also worked to create a specifically masculine form of domesticity through boys’ performance of mundane domestic tasks in the “fagging” system, which was often imagined in terms of the chivalric service ideal. Letters from the period show how the everyday worlds of school and home remained enmeshed, revealing the distinctive nature of family relationships forged by the routine of presence and absence that public schools created.
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Gelpi, Barbara Charlesworth. ": Intellectual Women and Victorian Patriarchy: Harriet Martineau, Elizabeth Barrett Browning, George Eliot. . Deirdre David." Nineteenth-Century Literature 43, no. 3 (December 1988): 396–99. http://dx.doi.org/10.1525/ncl.1988.43.3.99p0185g.

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Eddington, Ross Elliot. "Millett's Rationalist Error." Hypatia 18, no. 3 (2003): 193–211. http://dx.doi.org/10.1111/j.1527-2001.2003.tb00827.x.

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This article examines Millett's condemnation of Ruskin in Sexual Politics (1977) to demonstrate that Ruskin's views on women are the product of a specific mode of experience—one that precludes his views being representative of traditional Victorian patriarchy. The article uses Oakeshott's philosophical framework of different modes of experience to illustrate that Millett narrowly interprets Ruskin's statements on women from her own modal perspective without considering his broader belief in the imaginative over the rational faculty.
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Saeed, Nadia, Muhammad Ali Shaikh, Stephen John, and Kamal Haider. "Thomas Hardy: A Torchbearer of Feminism Representing Sufferings of Victorian Era Women." International Journal of Applied Linguistics and English Literature 9, no. 3 (May 31, 2020): 55. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.3p.55.

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The purpose of this paper was to highlight the miserable plight of women during the Victorian era, the age of social reforms, political improvements, collective welfare, and material prosperity. During this age, Queen Victoria worked on various issues that had remained the cause of unrest among the people. Her efforts, in this regard, were indeed commendable, but she took no interest to resolve issues of women who had been suffering terribly under patriarchy. The subject of women remained ignored for many years, then some writers started to highlight the miserable state of these passive creatures who were the constant victims of social, political and economic injustices, inequalities, deprivations, and domestic violence. Of all the feminists, Thomas Hardy stood unique as he brought to light almost all areas of life where women were suffering awfully and their voices were suppressed under the male-dominated system. Hardy took serious note of the long-ignored subject of society and provided a vivid and realistic picture of Victorian society through his extraordinarily brilliant novels. Thomas Hardy’s famous masterpiece ‘Tess of the d’Urbervilles: A Pure Woman” is one of the best novels depicting women-related issues that shook the minds of the people to proceed towards this delicate matter. The contents or events described in the novel confirmed that women were the disadvantaged section of society who were deprived of their due rights and respect in society. They were objectified and preferred to a man in each sphere of life.
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Savage, Gail L. "The Divorce Court and the Queen’s/King’s Proctor: Legal Patriarchy and the Sanctity of Marriage in England, 1861‑1937." Historical Papers 24, no. 1 (April 26, 2006): 210–27. http://dx.doi.org/10.7202/031003ar.

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Abstract The office of H M Proctor, a curious aspect of English divorce procedure, investigated divorce cases based on collusion between the spouses and divorce cases brought by spouses whose own misconduct disqualified them from the right to divorce. On the basis of evidence provided by the proctor's intervention into divorce suits, the divorce court had the power to rescind divorce decrees improperly obtained. This essay describes the origins of this legal institution and delineates its impact on divorce during the Victorian period. The analysis considers the growing criticism of the proctor's powers during the first four decades of the twentieth century. English divorce law was originally intended to buttress both the power of the husband within the marital relationship and the power of the state over the family. The changing view of the proctor over seventy-five years reveals the tensions inherent in Victorian gender ideology and reflects changing attitudes towards the nature of marriage.
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Dissertations / Theses on the topic "Victorian patriarchy"

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Axén, Robin. "In Conflict with Conformity : The Protagonist’s Struggle against Victorian Institutions and Gendered Behavioral Norms in Jane Eyre." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-39766.

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This essay examines the theme of conformity in Charlotte Brontë’s novel Jane Eyre. It highlights in particular the protagonist’s conflict with conformity as criticism of social inequality in terms of gender. The analysis builds on the patriarchal concept of the angel of the house, as described by Lois Tyson and Alastair Henry and Catharine Walker Bergström, which is a definition of the governing codes of behavior women of the nineteenth century were expected to follow within both the domestic and professional sphere. Specifically, these spheres are organized through significant Victorian institutions such as the household, the education and employment of women and the marriage. The behavior of Jane is discussed in relation to these institutions as a means to support the argument of the protagonist distancing herself from contemporary gender norms. The conclusion of the essay shows that Jane’s circumstances within these institutions leads to her deviation from behavioral norms as a deliberate action.
Den här uppsatsen undersöker temat konformitet i Charlotte Brontës verk Jane Eyre. Den framhäver i synnerhet protagonistens konflikt med konformitet som en kritik riktad mot sociala ojämlikheter mellan könen. Analysen bygger på det patriarkala konceptet ängeln i hemmet, så som det beskrivs av Lois Tyson och Alastair Henry och Catharine Walker Bergström, vilket är en definition av de rådande uppförandekoderna som kvinnor under den viktorianska eran förväntades att leva upp till inom familje- och yrkessfären. Dessa sfärer utgör viktiga inrättningar inom det viktorianska samhället. I synnerhet hemmet, skolan, yrket och äktenskapet. Jane Eyres uppförande diskuteras i relation till dessa inrättningar som ett led i att understödja argumenten för protagonistens distanserande från samtida könsnormer. Uppsatsens sammanfattning visar att Janes omständigheter inom var och en av dessa inrättningar leder till hennes avvikande från uppförandekoderna i form av medvetna handlingar.
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Olander, Louise. "Privilege and Poverty under Patriarchy : An Intersectional Feminist Analysis of the Portrayal of Wives and Mothers in Elizabeth Gaskell’s North and South." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35867.

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Building on previous feminist literary criticism of Elizabeth Gaskell's North and South (1854-55), this essay analyses the portrayal of wives and mothers in the novel from an intersectional feminist perspective. It examines how the narrative shows that gender and economic status or class intersect to create varied representations of Victorian women's marginalisation. The analysis argues that the novel, on the one hand, depicts wives and mothers as united by their status at "the other" in patriarchal Victorian society. On the other hand, the novel juxtaposes economically privileged and poor wives and mothers to show that they are not equally isolated, powerless, or willing to comply with Victorian gender roles. The result is a complex and empathetic portrayal of wives and mothers' privilege and poverty under patriarchy, which challenges the Victorian ideal of wives and mothers as "angels in the house".
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Sison, Jessica Lauren. "ReSisters: an examination of sororal resistance in the works of Christian Rossetti, Wilkie Collins and Margaret Oliphant." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1495.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
English Literature
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Swanson, Kj. "A liberative imagination : reconsidering the fiction of Charlotte Brontë in light of feminist theology." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/11051.

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This thesis seeks to show the ways in which Charlotte Brontë's fiction anticipates the concerns of contemporary feminist theology. Whilst Charlotte Brontë's novels have held a place of honor in feminist literary criticism for decades, there has been a critical tendency to associate the proto-feminism of Brontë's narratives with a rejection of Christianity—namely, that Brontë's heroines achieve their personal, social and spiritual emancipation by throwing off the shackles of a patriarchal Church Establishment. And although recent scholarly interest in Victorian Christianity has led to frequent interpretations that regard Brontë's texts as upholding a Christian worldview, in many such cases, the theology asserted in those interpretations arguably undermines the liberative impulse of the narratives. In both cases, the religious and romantic plots of Brontë's novels are viewed as incompatible. This thesis suggests that by reading Brontë's fiction in light of an interdisciplinary perspective that interweaves feminist and theological concerns, the narrative journeys of Brontë's heroines might be read as affirming both Christian faith and female empowerment. Specifically, this thesis will examine the ways in which feminist theologians have identified the need for Christian doctrines of sin and grace to be articulated in a manner that better reflects women's experiences. By exploring the interrelationship between women's writing and women's faith, particularly as it relates to the literary origins of feminist theology and Brontë's position within the nineteenth-century female publishing boom, Brontë's liberative imagination for female flourishing can be re-examined. As will be argued, when considered from the vantage point of feminist theology, 'Jane Eyre', 'Shirley', and 'Villette' portray women's need to experience grace as self-construction and interdependence rather than self-denial and subjugation.
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Leaver, Elizabeth Bridget. "The Priceless treasure at the bottom of the well : rereading Anne Brontë." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/33158.

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Anne Brontë died in 1848, having written two novels, Agnes Grey (1847) and The Tenant of Wildfell Hall (1848). Although these novels, especially The Tenant of Wildfell Hall, initially received a favourable critical response, the unsympathetic remarks of Charlotte Brontë and Elizabeth Gaskell initiated a dismissive attitude towards Anne Brontë’s work. For over a hundred years, she was marginalized and silenced by a critical world that admired and respected the work of her two sisters, Charlotte and Emily, but that refused to acknowledge the substantial merits of her own fiction. However, in 1959 revisionist scholars such as Derek Stanford, Ada Harrison and Winifred Gérin, offered important, more enlightened readings that helped to liberate Brontë scholarship from the old conservatisms and to direct it into new directions. Since then, her fiction has been the focus of a robust, but still incomplete, revisionist critical scholarship. My work too is revisionist in orientation, and seeks to position itself within this revisionist approach. It has a double focus that appraises both Brontë’s social commentary and her narratology. It thus integrates two principal areas of enquiry: firstly, an investigation into how Brontë interrogates the position of middle class women in their society, and secondly, an examination of how that interrogation is conveyed by her creative deployment of narrative techniques, especially by her awareness of the rich potential of the first person narrative voice. Chapter 1 looks at the critical response to Brontë’s fiction from 1847 to the present, and shows how the revisionist readings of 1959 were pivotal in re-invigorating the critical approach to her work. Chapter 2 contextualizes the key legal, social, and economic consequences of Victorian patriarchy that so angered and frustrated feminist thinkers and writers such as Brontë. The chapter also demonstrates the extent to which a number of her core concerns relating to Victorian society and the status of women are reflected in her work. In Chapter 3 I discuss three important biographical influences on Brontë: her family, her painful experiences as a governess, and her reading history. Chapter 4 contains a detailed analysis of Agnes Grey, which includes an exploration of the narrative devices that help to reinforce its core concerns. Chapter 5 focuses on The Tenant of Wildfell Hall, showing how the novel offers a richer and more sophisticated analysis of feminist concerns than those that are explored in Agnes Grey. These are broadened to include an investigation of the lives of married women, particularly those trapped in abusive marriages. The chapter also stresses Brontë’s skilful deployment of an intricate and layered narrative technique. The conclusion points to the ways in which my study participates in and extends the current revisionist trend and suggests some aspects of Brontë’s work that would reward further critical attention.
Thesis (DLitt)--University of Pretoria, 2013.
gm2014
English
Unrestricted
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Weber, Minon. "Wilde's Women : A feminist study of the female characters in Oscar Wilde’s comedies of manners: Lady Windermere’s Fan, A woman of No Importance and An Ideal Husband." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33191.

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Towards the end of the 19th century, Wilde produced the three comedies that I will focus on in this essay. These plays, Lady Windermere’s Fan, A woman of No Importance and An Ideal Husband, are all comedies of manners: intelligent dramatic comedies satirising contemporary fashionable circles of society and its manners, as well as social expectations. This type of comedy is often represented by stereotypical characters, such as the fallen woman, the good woman and the young innocent maiden, all three of which I will investigate in this essay.
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Fitch, Samantha. "The Gendered Pocket| Fashion and Patriarchal Anxieties about the Female Consumer in Select Victorian Literature." Thesis, Indiana University of Pennsylvania, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10606781.

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The popularity of the iPhone generated a barrage of digital comments, complaints, and articles about how the trendy phone didn’t fit in women’s pockets, from articles like the one in the Atlantic titled “The Gender Politics of Pockets” to a vlog called “Girl Pockets” by popular vlogger Hank Green. Why are women protesting about the inadequacy of their pockets, and how is this indicative of sexism and inequality? An examination of the gendered history of pockets answers this question, and is rooted in the literature of the Victorian era. I use thing theory to reveal how the pocket was both an agent and a symbol of economic change in this period. This dissertation considers the importance of the pocket, not only as an item of fashion, but also as an object that carried symbolic and representative meanings in Victorian society.

Much like women’s fashion in general, pockets in the Victorian period were used as disciplinary forces. The increase in technology and the rise in consumerism meant that women were leaving the house, and a female buying force became immensely important to the British economy. Part of the effort to counter this threat was to make women’s fashion debilitating and limiting. As the receptacle of money and object of convenience to a mobile shopper, the pocket was an important part of the effort to curtail feminine power, and this can be seen in Victorian literature. A fashionable woman was forced to use separate tie-pockets, which were exposed to theft or ransacking, and were also inconvenient. This meant that women’s pockets were more vulnerable, and in economic and psychological terms, women suffered for this. The comparison with men’s easily accessible and secure pockets worked to reassert the traditional hierarchy in the Victorian patriarchal system. Consequently a tension was created: the female shopper represented a much-needed potential economic force, but because of the threat to patriarchy that she represented, this force was constantly being constrained and controlled.

Through an examination of Victorian literature, art, and advertisements, we can see that women’s pockets, then as now, were unsatisfactory.

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Rodriguez, Mia U. "Medea in Victorian Women's Poetry." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355934808.

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Tamai(Nagamori), Akemi. "Thirteen Ways of Looking at a Victorian Woman: Representation of Sexuality in Thomas Hardy's Last Three Novels and Balladic Poems." Kyoto University, 2019. http://hdl.handle.net/2433/245326.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第22131号
人博第914号
新制||人||218(附属図書館)
2019||人博||914(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生文明学専攻
(主査)教授 水野 眞理, 教授 桂山 康司, 准教授 池田 寛子, 教授 金子 幸男
学位規則第4条第1項該当
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Books on the topic "Victorian patriarchy"

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David, Deirdre. Intellectual Women and Victorian Patriarchy. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8.

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E, Hall Donald. Fixing patriarchy: Feminism and mid-Victorian male novelists. London: Macmillan, 1996.

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Hall, Donald E. Fixing patriarchy: Feminism and mid-Victorian male novelists. New York: New York University Press, 1996.

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David, Deirdre. Intellectual women and Victorian patriarchy: Harriet Martineau, Elizabeth Barrett Browning, George Eliot. Houndmills, Basingstoke, Hampshire: Macmillan, 1987.

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Intellectual women and Victorian patriarchy: Harriet Martineau, Elizabeth Barrett Browning, George Eliot. Ithaca, N.Y: Cornell University Press, 1987.

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Intellectual women and Victorian patriarchy: Harriet Martineau, Elizabeth Barrett Browning, George Eliot. London: Macmillan, 1987.

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The maternal voice in Victorian fiction: Rewriting the patriarchal family. New York: Garland Pub., 1997.

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Walton, Priscilla L. Patriarchal desire and Victorian discourse: A Lacanian reading of Anthony Trollope's Palliser novels. Toronto: University of Toronto Press, 1995.

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Dandies and desert saints: Styles of Victorian masculinity. Ithaca, N.Y: Cornell University Press, 1995.

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The perfect gentleman: Masculine control in Victorian men's fiction, 1870-1901. New York: P. Lang, 1997.

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Book chapters on the topic "Victorian patriarchy"

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David, Deirdre. "Introduction: Thinking Women and Victorian Ideas." In Intellectual Women and Victorian Patriarchy, 1–24. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_1.

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David, Deirdre. "Iconic Sage." In Intellectual Women and Victorian Patriarchy, 161–76. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_10.

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David, Deirdre. "Instructed Women and the Case of Romola." In Intellectual Women and Victorian Patriarchy, 177–96. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_11.

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David, Deirdre. "Subversive Sexual Politics: Felix Holt, the Radical." In Intellectual Women and Victorian Patriarchy, 197–208. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_12.

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David, Deirdre. "Maggie Tulliver’s Desire." In Intellectual Women and Victorian Patriarchy, 209–24. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_13.

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David, Deirdre. "Afterword: ‘The Authority to Speak’." In Intellectual Women and Victorian Patriarchy, 225–31. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_14.

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David, Deirdre. "Textual Services." In Intellectual Women and Victorian Patriarchy, 27–39. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_2.

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David, Deirdre. "Political Economy and Feminist Politics." In Intellectual Women and Victorian Patriarchy, 40–57. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_3.

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David, Deirdre. "The Social Parent: Slavery, History, and Reform." In Intellectual Women and Victorian Patriarchy, 58–73. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_4.

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David, Deirdre. "A Novel Liberty: Deerbrook." In Intellectual Women and Victorian Patriarchy, 74–93. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18792-8_5.

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