دانلود کتاب The Matrilineal Heritage of Louisa May Alcott and Christina Rossetti
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کتاب میراث مادری لوئیزا می آلکوت و کریستینا روستی نسخه زبان اصلی
دانلود کتاب میراث مادری لوئیزا می آلکوت و کریستینا روستی بعد از پرداخت مقدور خواهد بود
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توضیحاتی در مورد کتاب The Matrilineal Heritage of Louisa May Alcott and Christina Rossetti
نام کتاب : The Matrilineal Heritage of Louisa May Alcott and Christina Rossetti
عنوان ترجمه شده به فارسی : میراث مادری لوئیزا می آلکوت و کریستینا روستی
سری : Routledge Studies in Nineteenth Century Literature
نویسندگان : Azelina Flint
ناشر : Routledge
سال نشر : 2021
تعداد صفحات : 241
ISBN (شابک) : 9780367514402 , 9781003053859
زبان کتاب : English
فرمت کتاب : pdf
حجم کتاب : 5 مگابایت
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توضیحاتی در مورد کتاب :
آزلینا فلینت در مقایسه‌ای بی‌سابقه از دو تن از مهم‌ترین نویسندگان زن قرن نوزدهم، تأثیر جوامع مذهبی را که دیدگاه‌های لوئیزا می آلکات و کریستینا روستی در مورد خلاقیت زنانه را شکل دادند، پیش‌زمینه نشان می‌دهد. در مراحل اولیه کار نویسندگان، پیشرفت‌های هنری آنها با پیوندهای پدر خطی آنها با دو جنبش هنری مرتبط بود که مسیر تاریخ آمریکا و بریتانیا را شکل دادند: ماورایی‌گرایان و پیش رافائل‌ها. فلینت رد دیدگاه‌های فردگرایانه این جنبش‌ها توسط نویسندگان را آشکار می‌کند و نشان می‌دهد که آلکوت و روستی خود را به ایمان مذهبی مادران و خواهرانشان وابسته‌اند. فلینت با بکارگیری چارچوب روش شناختی عرفان زنان نشان می دهد که باورهای دینی آلکوت و روستی توسط اعمال عبادی و متون زندگی نویسی جوامع مادرزادی آنها شکل گرفته است. در اینجا، تصویرهای نمادین نویسندگان از هنرمندان زن برای اولین بار در پرتو نمونه هایی از مادران و خواهران آنها بررسی می شود. فلینت تعدادی از نوشته های زندگی منتشر نشده از جمله آلبوم های معمولی و روزنامه های نوجوانان را بازیابی می کند و خوانندگان را با نسخه های اولیه آثار نمادین نویسندگان آشنا می کند. این متون بازیابی شده نشان می دهد که آلکوت و روستی هنرمند زن را به عنوان سخنوری برای جامعه گسترده تری از زنان متعهد به عدالت اجتماعی و ارتباط الهی به تصویر کشیده اند. فلینت با جلب توجه به شباهت‌های موجود در وابستگی‌های خانوادگی و اعتقادات مذهبی نویسندگان، سنت عرفان زنان قرن نوزدهمی را بازیابی می‌کند که از مدل‌های فردگرایانه سنت‌های ادبی مردانه فاصله می‌گیرد تا توانمندسازی زنان را در روابط زن‌محور که برای دستیابی به یک بازسازی مشترک اختصاص داده شده است. خداوند.
فهرست مطالب :
Cover Half Title Series Page Title Page Copyright Page Dedication Contents Acknowledgments Abbreviations Introduction Devotion and Mysticism: Subject and Method Preparing the Wood: Matrilineal Theologies of Renunciation and Women's Mysticism Preparing the Gesso: Archival Relics, Negotiation with the Dead, and the Methodology of Pilgrimage Painting the Matrilineal Image of God: The Theological Statements of the Alcott and Rossetti Women Gilding the "Doors of Perception": Mystical Communion across Time and Space Notes 1. "I am Even I": Rossetti and Alcott Resisting Male Authority "I am Even I": Christina Rossetti's Assertion of the Female Poet's Independence in Her Correspondence with Dante Gabriel Rossetti "The Death of a Beautiful Woman Is Unquestionably the Most Poetical Topic in the World"? Christina Rossetti's Portrayal of the Pre-Raphaelite Corpse in Her Contributions to The Germ "Cannot You Fancy She May Be Leaning Down to Me from Her Rest"? Christina Rossetti's Subversion of the Female Intercessor in Her Prophetic Poem, "A Year Afterwards" "Leave All to God—and Me": Louisa May Alcott's Rejection of Bronson Alcott's Ideology of Individualism "Love and Duty Go Hand in Hand": Louisa May Alcott's Reformation of Her Transcendentalist Heroes Notes Part I: "Left-Handed Societies": Women's Life-Writing 2. "Renunciation Is the Law, Devotion to God's Will the Gospel": The Empowerment of Others in the Alcott Women's Life-Writing "Let Us Perpetuate in the Remembrances of Our Children [...] What of Love and Good-Will We Have Lived for Them": Abigail Alcott's Model of Relational Sympathy "Piety of the Right Kind": Abigail Alcott's Lived Religion in Anna Alcott's Literary Criticism and Louisa May Alcott's Little Women "We Enjoyed Our Little Pleasures with Gratitude When We Had Care and Sorrow": Bronson Alcott's Vision of Predestination in Two Early Sketches for Little Women "We Must Live for Each Other": The Maternal Bond as Origin and Apotheosis of the Alcott Sisters' Artistry "A Little Kingdom I Possess": Abigail Alcott's Theology of Renunciation in the Life-Writing of the Alcott Sisters Notes 3. "For Every Human Creature May Lay Claim to Strength": The Rossetti Women's Elevation of the Left Hand "Companion, Friend, & Mother mine": Rossetti's Trinitarian Poetics as Accessed through Her Mother "Love Is Love": Transforming Conscious Experience through Matrilineal Religious Faith "A World of Change & Loss, a World of Death": Rossetti's Theology of Renunciation and the Deferral of Redemption "Transfigured by Love's Flame": The Redemptive Power of Frances's Spiritual Authority "In Harmony with Her Holy Hope and Joy": Maria's Influence on Christina's Discourse of Lived Religion "Her Sister Stood in Deadly Peril to Do Her Good": The Priestly Role of the Sister in "Goblin Market" Notes Part II: "A Loving League of Sisters": Alcott and Rossetti's Promotion of Christian Values through the Ties of Sisterhood 4. We Are All Relative Creatures: The Transformative Power of Sisterhood in Rossetti's Maude "I am Sick of Display and Poetry and Acting": The Temptation of Originality "Let Us Wait the End in Peace": The Spiritual Transformation of Maude's Poetry "She Had Been Overturned": Maude's Experience of the imitatio Christi and Its Impact on Her Verse "Amen for Us All": The Trinitarian Relationships of Sisters Notes 5. "Happy Women": Alcott's Sisterly Utopia "The Doctrine of Hatred Must Be Preached as the Counteraction of the Doctrine of Love": The Destructive Ramifications of Transcendentalist Self-Culture "You Will Do My Part Better Than I Could": Christie's Rehabilitation and the Emergence of her Sisterhood A "Sympathetic Undertone ... So Magical in Its Effect": Christie's Transcendent Sympathy and the Extension of her Sisterhood "A Loving League of Sisters": Christie's Intersectional Sisterhood "Bigger, Lovelier and More Imposing Than Any Woman I Ever Saw": Female Creativity and Sisterly Ministry Notes Conclusion Notes CODA. Nineteenth-Century Women's Matrilineal Theologies of Renunciation "Letting Go a Presence for an Expectation": Emily Dickinson's Doubting Theology of Renunciation "Where Did Your Christ Come from? From God and a Woman": Sojourner Truth's Spiritual Motherhood "O God, No Blasphemy It Is to Feel We Loved in Trinity": Mystical Communion in the Matrilineal Community of "Michael Field" "But You Have Come!": Transatlantic Spiritual Sisterhood and Mystical Communion in Frances Hodgson Burnett's The Shuttle Notes Works Cited Archival Sources Illustrations Cited Secondary Sources Works of Reference Appendices Appendix 1 "Rolf Walden Emmerboy" Transcription Appendix 2 "Two Scenes in a Family" Transcription Appendix 3 "Wealth" Transcription Appendix 4 "Our Madonna" Transcription Appendix 5 "Story of an Apple" Transcription Appendix 6 "Extracts from Bradley's Sermons" Transcription Appendix 7 "The Maid of Sorrow" Transcription Index
توضیحاتی در مورد کتاب به زبان اصلی :
In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.
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