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Reading Domestic Ideology in the Poetry of Felicia Hemans
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Hemans's poems insistently celebrate the emotional gratification produced by a loving home. Hemans frequently employed the image of the circle as the constitutive figure for the desired home, for, even as Hemans consistently represents the home as an earthly paradise, she constructs this home as an absent space. However, her lyrics need not to be read as single statements, no matter how much her poetry constantly reminds one of the fragility of domestic ideology. Traditionally viewed as the poetess, Hemans was widely read and celebrated in the nineteenth century. By the close of the century, however, her reputation as a poet began to decline. Fortunately, the past twenty years have brought renewed critical scrutiny to Hemans's poetry challenging the understanding of the role of women and the nature of poetry within the nineteenth-century. In Records of Women, almost all of Hemans's heroines are separated from those they love. Of the many of the poems in this collection, "Siege of Valentia" directly addresses the position of women in society, revealing the limitations of domesticity and the tenuous role of the woman artist without rejecting separate-sphere ideology.
Abstract
Hemans's poems insistently celebrate the emotional gratification produced by a loving home. Hemans frequently employed the image of the circle as the constitutive figure for the desired home, for, even as Hemans consistently represents the home as an earthly paradise, she constructs this home as an absent space. However, her lyrics need not to be read as single statements, no matter how much her poetry constantly reminds one of the fragility of domestic ideology. Traditionally viewed as the poetess, Hemans was widely read and celebrated in the nineteenth century. By the close of the century, however, her reputation as a poet began to decline. Fortunately, the past twenty years have brought renewed critical scrutiny to Hemans's poetry challenging the understanding of the role of women and the nature of poetry within the nineteenth-century. In Records of Women, almost all of Hemans's heroines are separated from those they love. Of the many of the poems in this collection, "Siege of Valentia" directly addresses the position of women in society, revealing the limitations of domesticity and the tenuous role of the woman artist without rejecting separate-sphere ideology.
참고문헌 (11)
- Choley, Henry Fothergill, "Memorials of Mrs. Hemans, with Illustrations of her Literary Character from her Private Correspondence. Vol I . II" (1836), Craighead and Allen. Reprinted
- Feldman, Paula R., "The Poet and the profits: Felicia Hemans and the Literary Marketplace, In Late Romantic to Late Victorian: Gender and Genre, 1830-1900", pp.71~101 (1999), Macmillan
- Hemans, Felicia, "The Forest Sanctuary; and Other Poems" (1825), Thomas Davison. Reprinted
- Hemans, Felicia, "Records of Woman With Other poems" (1999), The UP of Kentucky
- Hemans, Felicia, "The Siege of Valencia" (2002), Broadview
- Kelly, Michael, "Mothers of the City: Twenty Outstanding Liverpool Women" (2007), Ribcar
- Mellor, Anne K., "Romanticism and Gender" (1993), Routledge
- Mill, John Stuart, "The Subjection of Women, In Susan Moller Okin" (1988), Hackett P
- Nichols, Anne, "Woman's Sphere in the law of God" Biblical Women and Domesticity in the Writings of Felicia Hemans, Grace Aguilar, Harriet Beecher Stowe, and Elizabeth Cady Stanton" (2010), UMI
- Wolfson, Susan. J., "Borderlines: The Shiftings of Gender in British Romanticism" (2000), Stanford UP
- Wolfson, Susan. J., "Felicia Hemans and the Revolving Doors of Reception, In Romanticism and Women Poets", pp.214~241 (1999), The UP of Kentucky