Dissenting English Essay Literature Politics Teaching

Dissenting English Essay Literature Politics Teaching-4
These hymns, both doctrinal and experiential, exhibit Steele’s adherence to a strict form of Calvinism that was pervasive among Particular Baptists (and some Independents) during the first half of the eighteenth century.Her hymns explore the themes of faith, grace, affliction, duty, death, heaven, and divine inscrutability, as well as such cardinal tenets of Calvinism as Imputed Righteousness, Justification, Sanctification, and the Trinity.At the same time, feminist attitudes of resistance to the demands of patriarchal society find a surprisingly natural voice within a sociable, collaborative model of artistic expression valorized by the men as much as the women within many dissenting literary circles, all of which undercuts previous assumptions about eighteenth-century women writers as either angry, alienated, near-Amazonian artist-figures (the positive type), or fearful, overly modest writers complicit in their acquiescence to the demands of domesticity (the negative type) (Ezell, Writing 26–28, 87–93).

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Dissenting English Essay Literature Politics Teaching

Building on her scholarship on Milton, she has queried the history of the discipline of Renaissance literary studies, exploring how the economic pressures and values of the post-war University in the USA shaped the study of renaissance literature.My current book project, reads recent theoretical and popular critiques of the anarchic horizontalism, open-endedness, and ephemerality of contemporary social movements as extensions of the Hegelian derogation of “political Romanticism.” I argue that the opposition of mere contemplation and knowledge-based action upon which this Hegelian critique rests occludes what is most promising in a significant and neglected lineage extending from Kant’s writings on history and Charlotte Smith’s counter-historical poetics, through Shelley’s “unacknowledged legislators” and Benjamin’s post-Romantic notions of “criticizability” and “translation,” to current political enactments that reject the division between reflective emancipation and determinant political action.Those enactments—for example, of recent Egyptian and Occupy protest movements—are the subject of my recent essay “Critique of Populist Reason.” Here, I argue that the role of symbolic leadership in the auto-genesis of a “people” in Ernesto Laclau’s relies upon an ontology of lack in view of which the commitment to leaderlessness evidenced by contemporary social-movement populisms can only appear as melancholic self-castration, while neglecting the more promising resources contained in Claude Lefort’s analysis of the democratic “experience of indeterminacy” and post-Romantic notion of “unfinished work.” That dimension of Lefort’s thought provides the basis for my own view of what sustains the capacity for radical dissent that Laclau’s populism at once requires and puts at risk.Anne Steele’s poetry and prose, most of which was composed between 17, not only expanded the boundaries of nonconformist women’s poetry and prose but also established, through her dialogues, a model that would culminate in Clara Reeve’s The Progress of Romance (1785).Mary Steele followed her aunt’s example and became the center of the second generation, her stature as poet within the circle eventually surpassing that of Mary Scott.Like their Bluestocking and Unitarian counterparts, Evangelical Calvinist women like those from within the Steele circle met often in each other’s homes, maintained lengthy correspondences, commemorated their friendships in poetry, and served as editors, copyists, and critics of each other’s writings.These women were intelligent, educated, and creative, contributing to popular monthly magazines and occasionally overseeing the publications of selected poems and prose pieces, though their wealth precluded the need to publish by subscription.Steele provides dates and locations for nearly every poem, creating a detailed chronology of a poetic career that began at 13 and continued until shortly before her death at the age of 60.Her attention to time and place reflects the autobiographical nature of scribal poetry common to eighteenth-century female literary coteries, each poem representing a “spot of time” that could easily have found its way into a diary or a letter.Nonconformist women writers for the most part exemplify the variety of traditions present among women writers in England in the eighteenth and early nineteenth centuries, writings that “preserve our ability to hear multiple voices of women writing in the past” instead of one monolithic “female voice” that some feminist historians have mistakenly argued reflects “continuity where diversity flourishes” (Ezell, Writing 13).Unfortunately, many women writing from within an evangelical culture have largely been ignored by feminists and historians, despite the presence in their writings of masculine forms of discourse mirrored as well by experimentations in genres aligned almost solely with more traditional forms of feminine discourse.

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