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Authorship in Context: From the Theoretical to the Material by Kyriaki Hadjiafxendi, Polina Mackay

By Kyriaki Hadjiafxendi, Polina Mackay

This publication maps the terrain of Anglo-American authorship because it shifts from a theoretical to a extra fabric method of its learn in contexts famous as key to its improvement: the nineteenth-century literary industry, twentieth-century experimentalism and postmodern tradition. Gender and (post)colonial concerns round authorial id and literary paintings are extra explored on the subject of publishing regulations, image media, and the net.

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320, 323). Eliot saw the need for nineteenth-century women authors to find their purpose in truthfully representing and being truly representative of the feminine intellect (Eliot, 1963c, p. 316). In ‘Silly Novels by Lady Novelists’, Eliot argued that women were incapable of critically judging their own competence in writing fiction because of their foolish vanity of wishing to appear in print. By being false to themselves, they were untruthful in their delineation of feeling and character which, in her view, was the sacred task of every writer (Eliot, 1954–78, vol.

58; 1963a, p. 80): Let no woman rush into print who is not prepared for the consequences. We are aware that our remarks are in a very different tone from that of the reviewers who tell one lady novelist after another that they ‘hail’ their 38 ‘George Eliot’, the Literary Market-Place and Sympathy productions ‘with delight’ No sooner does a woman show that she has genius or effective talent, than she receives the tribute of being moderately praised and severely criticized. By a peculiar thermometric adjustment, when a woman’s talent is at zero, journalist approbation is at the boiling pitch; when she attains mediocrity, it is already at no more than summer heat; and if ever she reaches excellence, critical enthusiasm drops to the freezing point In the majority of women’s books you see that kind of facility which springs from the absence of high standard The foolish vanity of wishing to appear in print, instead of being counter balanced by any consciousness of the intellectual or moral derogation implied in futile authorship, seems to be encouraged by the extremely false impression that to write at all is a proof of superiority in a woman.

E. disloyal to the established monarch: a reference to the Jacobitism of George and friends, as filtered through the Editor’s new establishment Toryism’ (Hogg, 2001, p. 223). Like Maturin’s ‘impossible crime’, the italics here are the sign of an indeterminacy between speech and writing, which occurs just at the point where irony backfires: the Editor wittily calls into question the transparency of his own reportage of their speech, in order to contrast the slipperiness of spoken treason with the determinacy of a written contract, only to have to rely on the written convention for a spoken emphasis.

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