'Michael Field' (1884 1914) was the pseudonym of two women, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote together as 'lovers'. The large oeuvre contains poems, dramas, and a vast diary. Marion Thain recounts the development of a fascinating and idiosyncratic poetic persona, which became a self-reflexive study in aestheticism. The constructed life and work of 'Michael Field' is used here to deepen and complicate our understanding of many of the most distinctive aesthetic debates of the late nineteenth and early twentieth centuries; a process unified by the...
'Michael Field' (1884 1914) was the pseudonym of two women, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote together as 'lo...
'Michael Field' (1884 1914) was the pseudonym of two women, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote together as 'lovers'. The large oeuvre contains poems, dramas, and a vast diary. Marion Thain recounts the development of a fascinating and idiosyncratic poetic persona, which became a self-reflexive study in aestheticism. The constructed life and work of 'Michael Field' is used here to deepen and complicate our understanding of many of the most distinctive aesthetic debates of the late nineteenth and early twentieth centuries; a process unified by the...
'Michael Field' (1884 1914) was the pseudonym of two women, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote together as 'lo...
This study explores lyric poetry's response to a crisis of relevance in Victorian Modernity, offering an analysis of literature usually elided by studies of the modern formation of the genre and uncovering previously unrecognized discourses within it.
This study explores lyric poetry's response to a crisis of relevance in Victorian Modernity, offering an analysis of literature usually elided by stud...
