Publisher description

This collection explores the unique bond between sisters.

Although the cultural and literary influence of Christina Rossetti has recently been widely acknowledged, the belatedness of this critical attention has left wide gaps in our understanding of her poetic contribution. Often focusing solely on her early work and neglecting her later volumes, many critics minimized her relevance by measuring her stature through either her early poems or her relationships with well-known Victorian literary figures. In Christina Rossetti: The Patience of Style, Constance W. Hassett argues against this diminishment by reopening Rossetti's canon, challenging both critics and readers to trade their silent appreciation of her most familiar verse for a patient and active scrutiny of her body of work, which contains some of the finest lyric poetry of the nineteenth century. Keeping her primary focus on the poems themselves, Hassett traces Rossetti's career through her five poetry collections, Goblin Market and Other Poems (1862), The Prince's Progress and Other Poems (1866), Sing-Song: A Nursery Rhyme Book (1872), A Pageant and Other Poems (1881), and Verses (1893). In a comprehensive account of Rossetti's evolving style and genre, Hassett analyzes the strengths and failures of the poetry, its attention to the resources of rhythm and the shifts of diction, its momentum and reserve, and the rationale for its revision. The book also explores Rossetti's innovative poetry for children, her daring reconfiguration of religion and poetry in a late-life commentary on the Apocalypse, and the influences both of female precursors she admired and outgrew and of the male circle of Pre-Raphaelite poets. For art historians of the Pre-Raphaelites, scholars of women's writing and gender studies, students of children's literature, and researchers in religious studies, not to mention readers in Victorian poetry, Christina Rossetti: The Patience of Style will serve as an indispensable and eye-opening guide.

This unique collection of writings from well-known authors and celebrities expresses all the love one can have for a sister. Each heartfelt quote beautifully celebrates the close bond shared between siblings, making this book the perfect way to let a sister know how much she is cared for and appreciated. It will remind her that she is more than just a great sister. . . she's an amazing woman and a friend like no other.

This major new edition of The Oxford Dictionary of Quotations offers the broadest and most up-to-date coverage of quotations available today. Now with 20,000 quotations arranged by author, this is Oxford's largest quotations dictionary ever. As well as quotations from traditional sources,and with improved coverage of world religions and classical Greek and Latin literature, this foremost dictionary of quotations now covers areas such as proverbs and nursery rhymes. For the first time there are special sections for Advertising Slogans, Epitaphs, Film Lines, and Misquotations, whichbring together topical and related quotes, and allow you to browse through the best quotations on a given subject. In this new fifth edition there is enhanced accessibility with a new thematic index to help you find the best quotes on a chosen subject, more in-depth details of the earliest traceable source, an extensive keyword index, and biographical cross-references, so you will easily be able to findquotations for all occasions, and identify who said what, where, and when.

Christina Rossetti was considered the ideal female poet of her time. Her poetry was devotional, moral, and spoke of frustrated affection. Dolores Rosenblum presents a fresh reading of Rossetti's works and places them in the context of her life. Rosenblum shows that what was ostensibly devotional, moral, and loveless, was actually what Luce Irigaray calls "mimetism," a subtle parody and diversion of the male tradition of literature. Rossetti's work was unified, Rosenblum argues, because she was a deliberate poet, and by accepting the "burden of womanhood," she played out what men only symbolized as female in their art. By her mimicry and revision of the male tradition of literature, Christina Rossetti engaged the patriarchal tradition in ways that make it usable for the female experience, and that provide a critique of the male objectification of women in art. -- From publisher's description.