Linda M Shires
Biographic Data
| ID | 6625019 |
|---|---|
| NAME | Linda M Shires |
| GIVEN NAMES | Linda M |
| FAMILY NAME | Shires |
| SIGNATURE | SHIRES L M |
| AFFILIATIONS | Syracuse University |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Perception, Class and Environment in the Works of Thomas Hardy , by Roger Ebbatson
Thomas Hardy, in his 1912 preface to Far from the Madding Crowd (1874), explains that he seeks to portray “the landscapes of a partly real, partly dream country.” He refers to Dorset, which he memorably calls Wessex, retrieving the historical Saxon name for his nineteenth-century fiction and readers, purposefully mixing past and present. In his latest book, Roger Ebbatson explores Hardy’s handling of landscape, perception, modes of being, and the…
Imperial Beast Fables
Aesop’s Fables will often pop into the mind as the progenitor of animal tales as a literary genre. Or, if one hears “beast” fable, one might think of the Middle Ages or immediately call to mind the fairy tale of “Beauty and the Beast”—whether in the eighteenth-century European versions of Gabrielle-Suzanne Barbot de Villeneuve and Jeanne-Marie le Prince de Beaumont or the nineteenth-century version of the Brothers Grimm. Yet history, culture, and…
Image
The past is not dead, but is living in us, and will be alive in the future which we are now helping to make
Hardy's Memorial Art
Thomas Hardy noted regretfully : “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and referen…
Rewriting the Victorians
Far from the Madding Crowd
Victorian” Poetry at the Present Time
Since our categories of thought produce what they claim to categorize, how are we conceptualizing Victorian Poetry today and what is the Victorian poetry we are producing? The two journal volumes and online essays under review, Victorian Poetry Spring 2004 (42.1) and Winter 2003 (41.4) and Literary Compass: Victorian online 2003–2004, feature discussions about the field's identity and new directions, while appraising where it has been. It is usef…
Elizabeth Barrett Browning
I N A WELL-KNOWN LETTER EXCHANGE of 1861, Elizabeth Barrett Browning, then aged fifty-five, responded to William Makepeace Thackeray’s rejection of one of her poems. In his capacity as Editor of the Cornhill magazine, the famous novelist and man of letters had seen fit to exercise his censorship prerogatives on material he considered highly inappropriate for his audience. This letter exchange, which may serve as a metonymy for the ideological cri…
Victorian Woman’s Poetry
P ART OF THE EXCITEMENT of reading Victorian woman’s poetry lies in its manifold refusals to adopt wholesale the codes and conventions of the male poetic tradition. Such refusal may manifest itself in the bold rewriting of forms (as in Elizabeth Barrett Browning’s Sonnets from the Portuguese ), or in the unhinging of domestic or romantic pieties through irony and other doubling strategies (as in Dora Greenwell’s “Scherzo” or Christina Rossetti’s …
Victorian Studies and Cultural Studies
V ICTORIAN STUDIES PRACTITIONERS have often applauded themselves on their openness to views, topics, and approaches not immediately recognizable as already part of the field. I put the formulation this way because Victorian studies scholars and critics also prize the field for its capaciousness; they tend to think of the field as large and already all-inclusive. It houses many genres and sub-disciplines and it first welcomed certain kinds of crit…
The Female Form
Rosalind Miles asserts that women have achieved supremacy in the writing of fiction, capturing the high points of a traditional male fastness. But what does this victory amount to
Elizabeth Barrett Browning
I N A WELL-KNOWN LETTER EXCHANGE of 1861, Elizabeth Barrett Browning, then aged fifty-five, responded to William Makepeace Thackeray’s rejection of one of her poems. In his capacity as Editor of the Cornhill magazine, the famous novelist and man of letters had seen fit to exercise his censorship prerogatives on material he considered highly inappropriate for his audience. This letter exchange, which may serve as a metonymy for the ideological cri…
The Female Form
Rosalind Miles asserts that women have achieved supremacy in the writing of fiction, capturing the high points of a traditional male fastness. But what does this victory amount to
Victorian Woman’s Poetry
P ART OF THE EXCITEMENT of reading Victorian woman’s poetry lies in its manifold refusals to adopt wholesale the codes and conventions of the male poetic tradition. Such refusal may manifest itself in the bold rewriting of forms (as in Elizabeth Barrett Browning’s Sonnets from the Portuguese ), or in the unhinging of domestic or romantic pieties through irony and other doubling strategies (as in Dora Greenwell’s “Scherzo” or Christina Rossetti’s …
Victorian Studies and Cultural Studies
V ICTORIAN STUDIES PRACTITIONERS have often applauded themselves on their openness to views, topics, and approaches not immediately recognizable as already part of the field. I put the formulation this way because Victorian studies scholars and critics also prize the field for its capaciousness; they tend to think of the field as large and already all-inclusive. It houses many genres and sub-disciplines and it first welcomed certain kinds of crit…
Elizabeth Barrett Browning
I N A WELL-KNOWN LETTER EXCHANGE of 1861, Elizabeth Barrett Browning, then aged fifty-five, responded to William Makepeace Thackeray’s rejection of one of her poems. In his capacity as Editor of the Cornhill magazine, the famous novelist and man of letters had seen fit to exercise his censorship prerogatives on material he considered highly inappropriate for his audience. This letter exchange, which may serve as a metonymy for the ideological cri…
Far from the Madding Crowd
Victorian” Poetry at the Present Time
Since our categories of thought produce what they claim to categorize, how are we conceptualizing Victorian Poetry today and what is the Victorian poetry we are producing? The two journal volumes and online essays under review, Victorian Poetry Spring 2004 (42.1) and Winter 2003 (41.4) and Literary Compass: Victorian online 2003–2004, feature discussions about the field's identity and new directions, while appraising where it has been. It is usef…
Rewriting the Victorians
Hardy's Memorial Art
Thomas Hardy noted regretfully : “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and referen…
Image
The past is not dead, but is living in us, and will be alive in the future which we are now helping to make
Imperial Beast Fables
Aesop’s Fables will often pop into the mind as the progenitor of animal tales as a literary genre. Or, if one hears “beast” fable, one might think of the Middle Ages or immediately call to mind the fairy tale of “Beauty and the Beast”—whether in the eighteenth-century European versions of Gabrielle-Suzanne Barbot de Villeneuve and Jeanne-Marie le Prince de Beaumont or the nineteenth-century version of the Brothers Grimm. Yet history, culture, and…
Perception, Class and Environment in the Works of Thomas Hardy , by Roger Ebbatson
Thomas Hardy, in his 1912 preface to Far from the Madding Crowd (1874), explains that he seeks to portray “the landscapes of a partly real, partly dream country.” He refers to Dorset, which he memorably calls Wessex, retrieving the historical Saxon name for his nineteenth-century fiction and readers, purposefully mixing past and present. In his latest book, Roger Ebbatson explores Hardy’s handling of landscape, perception, modes of being, and the…
Art (7 works) · History (7 works) · Literature (6 works) · History (5 works) · Philosophy (5 works) · Philosophy (4 works) · Poetry (4 works) · Sociology (4 works) · Law (3 works) · Literature: history, themes, analysis (3 works)