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Mullitee mullipadi, pehme Boba teetassi mänguasi, kujukeste mänguasi, mitmes suuruses armas mullitee tassi kujuline padi (B-1,9,4 tolli) цена и информация | Meeste rahakotid | kaup24.ee

Why a monumental diary by an aunt and niece who published poetry together as "Michael Field"-and who were partners and lovers for decades-is one of the great unknown works of late-Victorian and early modernist literature Michael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846-1914) and her niece, Edith Cooper (1862-1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siecle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown "novel" of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation. While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were publicly frustrated during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater. Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.

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Описание товара: Why a monumental diary by an aunt and niece who published poetry together as "Michael Field"-and who were partners and lovers for decades-is one of the great unknown works of late-Victorian and early modernist literature Michael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846-1914) and her niece, Edith Cooper (1862-1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siecle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown "novel" of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation. While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were publicly frustrated during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater. Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.

Suurus: X-Small - 9,4 tolli, väike - 13,7 tolli, keskmine - 19,6 tolli, suur - 27,5 tolli (käsitsi mõõtmise viga võib olla 0,4-1,2 tolli). Nahasõbralikust siidist vatist ja pehmest plüüsist valmistatud udupuuvillane täidis annab teile parema naha puudutustunde. See on ülipehme ja tundub, nagu kallistaksite pilvi. Pigistage seda pehmet plüüsi stressi leevendamiseks; Saab kasutada uinakupadja/kallistamispadjana/kontori lõunauinaku padjana/plüüsist mänguasjana, mis vastavad teie kõikidele vajadustele. Kodukaunistuseks muutke oma kodu täis armastust ja soojust. See sobib nii poistele kui tüdrukutele, täiskasvanutele ja lastele, saab kasutada erinevatel puhkudel nagu magamistuba, elutuba, magamistuba, klassiruum, kontor, auto jne. See on väga mugav, olenemata sellest, kas teile meeldib seda kallistada või selle vastu nõjatuda . See armas pehme plüüsist loomapadi on parim kingitus festivaliks ja puhkuseks, pehmest mänguasjast ei saa keegi keelduda. Igas vanuses inimestele erineva suuruse valikuga.

Общая информация o: Why a monumental diary by an aunt and niece who published poetry together as "Michael Field"-and who were partners and lovers for decades-is one of the great unknown works of late-Victorian and early modernist literature Michael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846-1914) and her niece, Edith Cooper (1862-1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siecle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown "novel" of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation. While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were publicly frustrated during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater. Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.

ID товара:	50191464
Категория:	Мужские кошельки
Количество упаковок товара:	1 шт.
Размеры и вес упаковки (1):	0,49 x 0,32 x 0,26 м, 0,6 кг

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Why a monumental diary by an aunt and niece who published poetry together as "Michael Field"-and who were partners and lovers for decades-is one of the great unknown works of late-Victorian and early modernist literature Michael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846-1914) and her niece, Edith Cooper (1862-1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siecle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown "novel" of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation. While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were publicly frustrated during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater. Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.

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