附註:"I am even I" Rossetti and Alcott Resisting Male Authority -- Secion I: "Left-handed Societies" Women's Life Writing -- "Renunciation is the law, devotion to God's will the gospel" The empowerment of others in the Alcott women's life-writing -- "For every human creature may claim to strength" The Rossetti women's elevation of the left hand -- Section II: "A Loving League of Sisters" Alcott and Rossetti's promotion of Christian values through the ties of sisterhood -- We are all relative creatures The transformative power of sisterhood in Rossetti's Maude -- "Happy Women" Alcott's sisterly utopia -- Conclusion -- Coda: Nineteenth-century women's matrilineal theologies of renunciation -- List of Works Cited -- Appendix 1: "Rolf Walden Emmerboy" Transcription -- Appendix 2: "Two Scenes in a Family" Transcription -- Appendix 3: "Wealth" Transcription -- Appendix 4: "Our Madonna" Transcription -- Appendix 5: "Story of An Apple" Transcription -- Appendix 6: "Hymn For Ascension Day" Transcription -- Appendix 7: "Extracts From Bradley's Sermons" Transcription -- Appendix 8: "A Morning Hymn" Transcription -- Appendix 9: "The Maid of Sorrow" Transcription.
摘要:"In an unprecedented comparison of two of the most important female authors of the nineteenth-century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott's and Christina Rossetti's visions of female creativity. In the early stages of the authors' careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors' rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters' religious faith. Applying the methodological framework of women's mysticism, Flint reveals that Alcott's and Rossetti's religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors' iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors' iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors' familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women's mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God"--
