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Bibliographic Detail
Publisher
Stanford Univ Pr
Publication date
December 16, 2008
Pages
430
Binding
Paperback
Book category
Adult Non-Fiction
ISBN-13
9780804761055
ISBN-10
0804761051
Dimensions
1.25 by 5.75 by 8.75 in.
Weight
1.35 lbs.
Original list price
$24.95
Other format details
university press
Amazon.com says people who bought this book also bought:
The Reception of Byron in Europe | Romantics, Rebels, and Reactionaries | Romanticism & Gender | Romanticism and Feminism
The Reception of Byron in Europe | Romantics, Rebels, and Reactionaries | Romanticism & Gender | Romanticism and Feminism
Summaries and Reviews
Amazon.com description: Product Description:
Opening with the revolution-era debates of the 1790s, Borderlines reads Romantic genders across a mobile syntax, tuned to such figures as the stylized "feminine" poetess, the aberrant "masculine" woman, male poets deemed "feminine" or "unmanly," the campy male "effeminate," and hapless or strategic cross-dressers of both sexes. With fresh readings of the works, careers, and volatile receptions of Mary Wollstonecraft, Felicia Hemans, M. J. Jewsbury, Lord Byron, and John Keats, Susan Wolfson shows how senses (and sensations) of gender shape and get shaped by sign systems that prove arbitrary, fluid, and susceptible of lively transformation.
Editions
Hardcover
1 edition from Stanford Univ Pr (October 11, 2006)
9780804752978 | details & prices | 430 pages | 6.25 × 9.00 × 1.25 in. | 1.65 lbs | List price $70.00
Paperback
The price comparison is for this edition
from Stanford Univ Pr (December 16, 2008)
9780804761055 | details & prices | 430 pages | 5.75 × 8.75 × 1.25 in. | 1.35 lbs | List price $24.95
About: Opening with the revolution-era debates of the 1790s, Borderlines reads Romantic genders across a mobile syntax, tuned to such figures as the stylized "feminine" poetess, the aberrant "masculine" woman, male poets deemed "feminine" or "unmanly," the campy male "effeminate," and hapless or strategic cross-dressers of both sexes.
About: Opening with the revolution-era debates of the 1790s, Borderlines reads Romantic genders across a mobile syntax, tuned to such figures as the stylized "feminine" poetess, the aberrant "masculine" woman, male poets deemed "feminine" or "unmanly," the campy male "effeminate," and hapless or strategic cross-dressers of both sexes.
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