Recasting women's stories : in the poetry of Felicia Hemans, Letitia Landon, and Christina Rossetti
Takiguchi, T.
Citation
Takiguchi, T. (2011, May 10). Recasting women's stories : in the poetry of Felicia Hemans, Letitia Landon, and Christina Rossetti. Retrieved from https://hdl.handle.net/1887/17621
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Recasting Women’s Stories
RECASTING WOMEN’S STORIES
in the Poetry of
Felicia Hemans, Letitia Landon, and Christina Rossetti
PROEFSCHRIFT
ter verkrijging van
de graad van Doctor aan de Universiteit Leiden,
op gezag van Rector Magnificus prof. mr. P. F. van der Heijden, volgens besluit van het College voor Promoties
te verdedigen op dinsdag 10 mei 2011 klokke 13.45 uur
door
TOMOKO TAKIGUCHI
geboren te Kawasaki
in 1964
Promotiecommissie:
Promotor: Prof. dr. T. L. D’haen, (KU Leuven University)
Overige leden: Prof. dr. R. K. Todd
Prof. dr. P. T. M. G. Liebregts
Dr. R. Ingelbien, (KU Leuven University) Dr. C. C. Barfoot
Dr. V. Tinkler-Villani
CONTENTS
INTRODUCTION 1
PART I
Legacies of Corinne and Sappho
CHAPTER 1
Germaine de Staël’s Corinne as a Model of the Woman Poet 9 CHAPTER 2
Writing about Women Poets: Recasting the Legend of Sappho 37
PART II
Landon, Hemans, and Dying Women
CHAPTER 3
The Female Other in Letitia Landon’s “A History of the Lyre” 73 CHAPTER 4
Resisting Victims: Felicia Hemans’ Records of Woman 91
PART III
Christina Rossetti’s Recasting of Christian Stories
CHAPTER 5
“Repent with me, for I repent”:
Eve’s Conscious Self-evaluation and Unconscious Self-revelation 109 CHAPTER 6
Rewriting the Story of Redemption in “Goblin Market” 121 CHAPTER 7
Resisting the Doctrine of Renunciation in the Vanity Poems 143 CHAPTER 8
“All loving, loved of all”:
Blessed Women in “From House to Home” 163 EPILOGUE Poetry as a Gift for the Audience 177 BIBLIOGRAPHY 185
Acknowledgments
I am profoundly grateful to my former supervisors, who taught me the basics of studying literature when I was a master’s student at Hokkaido University: Professor Emeritus Zensuke Taira and Professor Teruhiko Nagao. I thank the editors and referees of the Kyoto-based academic journal Bungaku to Hyoron (Letters and Essays) for giving valuable comments on the articles I submitted, some of which laid the basis for parts of the present dissertation. I owe my sincere gratitude to Rita DeCoursey for stylistic suggestions on the text of the dissertation. Carla Teune’s kind support during and after my stay in Leiden kept me going with my study until the end. I have had encouragement from many other friends and colleagues, as well as my parents, to whom I am truly grateful. My special thanks also to my husband, Fubito Endo, who helped me refine my ideas, at different stages of the writing, by listening to me and giving many insightful comments.
Permission
Chapter 3 of this dissertation is a revised version of my article “The Death of a Woman Artist: The Female Other in Letitia Landon’s Dramatic Monologue”, appearing in Women’s Studies, 36 (4), June 2007, and is included here by permission of the publisher, Taylor &
Francis Ltd.
