Sandra M. Gilbert

First translated into English in Signs in autumn 1981, it was assigned to the final position (in Alice Jardine 's and Harry Blake 's version) in The Feminist Reader: Essays in Gender and the Politics...

Once Hughes was dead as well as Plath, the way was clear for fictional recreation of their lives. Emma Tennant led the way with The Ballad of Sylvia and Ted, 2001 (whose New York...

The title alludes to the key study by Sandra M. Gilbert , The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, 1979. The introduction pays tribute to the women Greer...

Feminist literary critic Sandra M. Gilbert responded to both Emilies in one of her poetic collections: Emily's Bread (1984), and Anne Carson to EB , her favourite author and main fear, which I mean to...

Because of the extent to which ED 's concentrated and elusive verse, as well as her dissent from religious and social orthodoxies, seem to presage modernism, she has been considered the sole serious writer among...

As one of the few canonized women writers of the nineteenth century, she has been of great interest to feminist critics, in part because in the words of Elizabeth Langland , they became cathected to...

SSE was viewed with ambivalence by a later generation of critics who sought to reclaim women's literature. Sandra Gilbert and Susan Gubar , for example, read Ellis as a willing captive in a separate sphere...

Canonization of The Yellow Wall-Paper began in the early 1970s, within the context of second-wave feminism, and the edition issued by the Feminist Press in 1973. Feminist readings became the first to make the connection...

Most major shifts in second-wave feminist literary criticism have been marked by influential rereadings of Jane Eyre: Ellen Moers (1976) and Elaine Showalter (1977) in the assertion of a female literary tradition; the Marxist-Feminist Literature Collective

This book brought an avalanche of invitations to read her work.AS was not surprised at what she called the uniformly poor reviews, having become inured to this kind of reception. Some, however...

Critic Sandra M. Gilbert describes this and some of ET 's other fiction as vaguely feminist.

Critics were divided about the success of the poem, as was perhaps to be expected given EBB 's passionate embrace of Italian nationalism and her criticism of British foreign policy. The Guardian called it an...

Reviewer Sandra M. Gilbert called Tennant a practiced and practicing sensationalist, accuses her of cashing in on the public fascination with Plath, and characterises her style in this book as purple prose and blues-ballad voyeurism...

The poem is extensively discussed by Sandra M. Gilbert and Susan Gubar in The Madwoman in the Attic (1979) as a study in self-alienation. They argue that although the speaker remains a voiceless prisoner of...

Their project has been taken up again in the later twentieth century by such critics as Sandra M. Gilbert (in Patriarchal Poetry and Women Readers, Publications of the Modern Language Association of America 93...