Carroll, David, editor. George Eliot: The Critical Heritage. Barnes and Noble.
167
Connections | Author name Sort descending | Excerpt |
---|---|---|
Friends, Associates | Mary Elizabeth Coleridge | Her parents often hosted musical and cultural events that drew visitors from London's artistic circles. As a girl, MEC
would have seen Alfred Tennyson
, John Ruskin
, William Holman Hunt
, Fanny Kemble
... |
Intertextuality and Influence | Dinah Mulock Craik | The kingdom of the title is the moral sphere assigned to women in Victorian gender ideology. The book opens with an epigraph from John Ruskin
. The story is of twins who illustrate the extremes... |
Textual Features | Hannah Cullwick | According to Liz Stanley
, the extent of minutiae, repetition, and corresponding lack of emotional or psychological recording or retrospective analysis in the diaries' accounts of HC
's daily work is a result of their... |
politics | Emily Davies | ED
's petition was a request for funding to establish a College for women. It was signed by 521 teachers of girls and 175 others, including Robert Browning
, George Grote
, Thomas Huxley
,... |
Literary responses | George Eliot | Ruskin
in 1881 wrote scornfully of an the English Cockney school, which consummates itself in George Eliot, Carroll, David, editor. George Eliot: The Critical Heritage. Barnes and Noble. 167 |
Literary responses | Juliana Horatia Ewing | Our Field in this volume (first published in Aunt Judy's Magazine in September 1876) was said to have been Ruskin
's favourite among JHE
's stories (though not, Mary Lascelles
thinks, a favourite with children). Lascelles, Mary Madge. Juliana Horatia Ewing, 1841-1885: An Appreciation. Privately printed. 4 |
Publishing | Juliana Horatia Ewing | One of its illustrations (by Helen Paterson, later Allingham
, who illustrated a number of JHE
's books), of children in big beaver bonnets . . . seated at a shop-counter buying flat-irons, was... |
Textual Features | Juliana Horatia Ewing | JHE
's youngest brother reported that she thought the structure of any literary work its most vital feature, and too often ignored. She took her views on structural requirements from Ruskin
's Elements of Drawing... |
Literary responses | Juliana Horatia Ewing | She was reciprocally admired by Ruskin
in the nineteenth century, and admired also by Kipling
in the twentieth. Critic Mary Lascelles
lamented at the centenary of JHE
's death that her books had been allowed... |
Friends, Associates | Michael Field | Katharine Harris Bradley
(who later published as MF
with Edith Cooper
) embarked on a correspondence and friendship with John Ruskin
which lasted until 1880. Ehnenn, Jill. “Looking Strategically: Feminist and Queer Aesthetics in Michael Field’s <span data-tei-ns-tag="tei_title" data-tei-title-lvl=‘m’>Sight and Song</span>”;. Victorian Poetry, Vol. 42 , No. 3, pp. 213-59. 215 Field, Michael, and William Rothenstein. Works and Days. Editors Moore, Thomas Sturge and D. C. Sturge Moore, J. Murray. 143 |
politics | Michael Field | In January 1875 Katharine Harris Bradley
joined Ruskin
's Guild of St George
, the still embryo utopian society to which this year Fanny Talbot
made a gift of property to join Ruskin's initial donation... |
Cultural formation | Michael Field | Ruskin
was furious at the revelation of her atheism, and sent her an angry series of letters in which he called her too stupid. Field, Michael, and William Rothenstein. Works and Days. Editors Moore, Thomas Sturge and D. C. Sturge Moore, J. Murray. 156 |
Friends, Associates | Michael Field | Katharine
and Edith Cooper
shared a great many distinguished friends in the worlds of literature and aesthetics: Walter Pater
, Oscar Wilde
, Arthur Symons
, Charles Shannon
, Sarianna Browning
, Thomas Sturge Moore |
Literary responses | Michael Field | Katharine admitted the truth of her authorship to John Ruskin
after she sent him a copy of her work. His response was less than flattering. I did accidently open the Minnesinger and liked a bit... |
Intertextuality and Influence | Michael Field | Since 1890 Katharine Harris Bradley and Edith Cooper had been preparing to write a collection of poems responding to European art by touring several important galleries (including, besides the National Gallery
in London, the Louvre |
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