By Martin A. Danahay

Complementing fresh feminist experiences of lady self-representation, this booklet examines the dynamics of masculine self-representation in nineteenth-century British literature. Arguing that the class "autobiography" used to be a manufactured from nineteenth-century individualism, the writer analyzes the dependence of the nineteenth-century masculine topic on autonomy or self-naming because the prerequisite for the composition of a existence background. The masculine autobiographer achieves this autonomy by utilizing a feminized different as a metaphorical reflect for the self. The feminized different in those texts represents the social price of masculine autobiography. Authors from Wordsworth to Arnold, together with Samuel Taylor Coleridge, Thomas De Quincey, John Ruskin, Alfred Tennyson, Robert Louis Stevenson, John Stuart Mill, and Edmund Gosse, use lady fans and family as symbols for the neighborhood with which they think they've got misplaced touch. within the theoretical creation, the writer argues that those texts really privilege the self sustaining self over the pictures of group they ostensibly price, growing within the approach a self-enclosed and self-referential "community of one."

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Complementing fresh feminist reviews of girl self-representation, this e-book examines the dynamics of masculine self-representation in nineteenth-century British literature. Arguing that the class "autobiography" used to be a manufactured from nineteenth-century individualism, the writer analyzes the dependence of the nineteenth-century masculine topic on autonomy or self-naming because the prerequisite for the composition of a lifestyles historical past.

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Extra resources for A Community of One: Masculine Autobiography and Autonomy in Nineteenth-Century Britain

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However, as Williams suggests, it also led the writer to imagine him- or herself as profoundly isolated and separated from the broader social movements of the age. The ultimate message of autobiography is of the "essential isolation, alienation, loss of community" of the writing subject (246). A similar point about the inward turn in the literary history of individualism is made by M. M. Bakhtin in The Dialogic Imagination when he links the emergence of the idea of "landscape" to the construction of a "new private sense of self" in literature in classical times.

Bakhtin in The Dialogic Imagination when he links the emergence of the idea of "landscape" to the construction of a "new private sense of self" in literature in classical times. Bakhtin characterizes this shift in the following terms: A whole series of categories involving self-consciousness and the shaping of a life into a biographybegan to lose their Page 18 public and state significance and passed over to the private and personal plane. Even nature itself, drawn into this private and drawing-room world, begins to change in an essential way.

The suburb reflected the increasing tendency for Englishmen to separate their social lives into work and leisure and their social geography into workplace and home. (Bermingham 1986, 168) The "social geography" of the suburb thus mirrors the mental landscape of the second half of the nineteenth century. " Nature itself in this transition becomes domesticated, becoming more the suburban garden represented in Charles Reade in His Study than an untamed wilderness. This transition can be felt most strongly in John Ruskin.

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