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“A Very Dangerous Talent”: Wit For Women In Hannah Webster Foster's The Boarding School, Yvette Piggush
“A Very Dangerous Talent”: Wit For Women In Hannah Webster Foster's The Boarding School, Yvette Piggush
English Faculty Publications
Hannah Webster Foster's eighteenth-century novel The Boarding School shows how conduct literature and the republican culture of politeness create gender expectations for women's humor in the early United States. Foster teaches readers about the social effects of wit and guides them in using satire and irony to influence public opinion.
Alan Lupack, Arthurian Literature By Women, Alison Langdon
Alan Lupack, Arthurian Literature By Women, Alison Langdon
English Faculty Publications
This is a timely volume, given the surge in scholarly and popular interest in women's voices in the Arthurian tradition. The explicit purpose of this anthology is to explore the "rich and forgotten tradition" of women writers' contributions to the corpus of Arthurian literature, sketching a female lineage of literary descent that traces "certain traditions common to women writing on Arthurian themes" (xi, 4). While the foreword provides an overview of more familiar women authors such as Rosemary Sutcliffe, Mary Stewart, and Persia Wooley, in their selections of works to anthologize Lupack and Lupack choose to focus on lesser-known texts …
Pois Dompna S'Ave/D'Amar: Na Castellosa's "Cansos" And Medieval Feminist Scholarship, Alison Langdon
Pois Dompna S'Ave/D'Amar: Na Castellosa's "Cansos" And Medieval Feminist Scholarship, Alison Langdon
English Faculty Publications
Despite the rapidly spreading popularity of troubadour poetry throughout Western Europe (to northern France, Italy, Spain, Germany), only in Occitania do we find significant numbers of women poets participating in the tradition alongside their male counterparts-about twenty known by name, with another seventeen mentioned by other medieval writers but whose compositions have evidently been lost.1 Of all the trobairitz, it is Na Castelloza who most closely aligns herself with the"self-consciousness of the early troubadours and the self-effacing humility of the troubadour lover in general."2 she situates her female speaker in the same rhetorical position occupied by the …