First published in 1998. This collection of original essays identifies and analyzes 19th-century women's theological thought in all its diversity, demonstrating the ways that women revised, subverted, or rejected elements of masculine theology in creating theologies of their own. While women's religion has been widely studied, this is the only collection of essays that examines 19th-century women's theology as such A substantial introduction clarifies the relationships between religion and theology and discusses the barriers to women's participation in theological discourse as well as the ways women overcame or avoided these barriers. The essays analyze theological ideas in a variety of genres. The first group of essays discusses women's nonfiction prose, including women's devotional writings on the Apocalypse; devotional prose by Christina Rossetti and its similarities to the work of Hildegard von Bingen; periodical prose by Anna Jameson and Julia Wedgwood; and the letters of Harriet and Jemima Newman, sisters of John Henry Newman. Other essays examine the novel, presenting analysis of the theologies of novelists Emma Jane Worboise, Charlotte M. Yonge, and Mary Arnold Ward. Further essays discuss the theological ideas of two purity reformers, Josephine Butler and Ellice Hopkins, while the final essays move beyond Victorian Christianity to examine spiritualist and Buddhist theology by women This collection will be important to students and scholars interested in Victorian culture and ideas-literary critics, historians, and theologians-and particularly to those in women's studies and religious studies.

Women have been thoughtful readers and interpreters of scripture throughout the ages, yet the usual history of biblical interpretation includes few women’s voices. To introduce readers to this untapped source for the history of biblical interpretation, this volume presents forgotten works from the nineteenth century written by women—including Grace Aguilar, Florence Nightingale, and Harriet Beecher Stowe, among others—from various faith backgrounds, countries, and social classes engaging contemporary biblical scholarship. Due to their exclusion from the academy, women’s interpretive writings addressed primarily a nonscholarly audience and were written in a variety of genres: novels and poetry, catechisms, manuals for Bible study, and commentaries on the books of the Bible. To recover these nineteenth-century women interpreters of the Bible, each essay in this volume locates a female author in her historical, ecclesiastical, and interpretive context, focusing on particular biblical passages to clarify an author’s contributions as well as to explore how her reading of the text was shaped by her experience as a woman.

The interrelationship of music and theology is a burgeoning area of scholarship in which conceptual issues have been explored by musicologists and theologians including Jeremy Begbie, Quentin Faulkner and Jon Michael Spencer. Their important work has opened up opportunities for focussed, critical studies of the ways in which music and theology can be seen to interact in specific repertoires, genres, and institutions as well as the work of particular composers, religious leaders and scholars. This collection of essays explores such areas in relation to the religious, musical and social history of nineteenth-century Britain. The book does not simply present a history of sacred music of the period, but examines the role of music in the diverse religious life of a century that encompassed the Oxford Movement, Catholic Emancipation, religious revivals involving many different denominations, the production of several landmark hymnals and greater legal recognition for religions other than Christianity. The book therefore provides a valuable guide to the music of this complex historical period.

Examining popular fiction, life writing, poetry and political works, Rebecca Styler explores women's contributions to theology in the nineteenth century. Female writers, Styler argues, acted as amateur theologians by use of a range of literary genres. Through these, they questioned the Christian tradition relative to contemporary concerns about political ethics, gender identity, and personal meaning. Among Styler's subjects are novels by Emma Worboise; writers of collective biography, including Anna Jameson and Clara Balfour, who study Bible women in order to address contemporary concerns about 'The Woman Question'; poetry by Anne Bronte; and political writing by Harriet Martineau and Josephine Butler. As Styler considers the ways in which each writer negotiates the gender constraints and opportunities that are available to her religious setting and literary genre, she shows the varying degrees of frustration which these writers express with the inadequacy of received religion to meet their personal and ethical needs. All find resources within that tradition, and within their experience, to reconfigure Christianity in creative, and more earth-oriented ways.

The interrelationship of music and theology is a burgeoning area of scholarship in which conceptual issues have been explored by musicologists and theologians including Jeremy Begbie, Quentin Faulkner and Jon Michael Spencer. Their important work has opened up opportunities for focussed, critical studies of the ways in which music and theology can be seen to interact in specific repertoires, genres, and institutions as well as the work of particular composers, religious leaders and scholars. This collection of essays explores such areas in relation to the religious, musical and social history of nineteenth-century Britain. The book does not simply present a history of sacred music of the period, but examines the role of music in the diverse religious life of a century that encompassed the Oxford Movement, Catholic Emancipation, religious revivals involving many different denominations, the production of several landmark hymnals and greater legal recognition for religions other than Christianity. The book therefore provides a valuable guide to the music of this complex historical period.

Stories about Jewesses proliferated in nineteenth-century Britain as debates about the place of the Jews in the nation raged. While previous scholarship has explored the prevalence of antisemitic stereotypes in this period, Nadia Valman argues that the figure of the Jewess - virtuous, appealing and sacrificial - reveals how hostility towards Jews was accompanied by pity, identification and desire. Reading a range of texts from popular romance to the realist novel, she investigates how the complex figure of the Jewess brought the instabilities of nineteenth-century religious, racial and national identity into uniquely sharp focus. Tracing the narrative of the Jewess from its beginnings in Romantic and Evangelical literature, and reading canonical writers including Walter Scott, George Eliot and Anthony Trollope alongside more minor figures such as Charlotte Elizabeth Tonna, Grace Aguilar and Amy Levy, Valman demonstrates the remarkable persistence of this narrative and its myriad transformations across the century.

This four-volume historical resource provides new opportunities for investigating the relationship between religion, literature and society in Britain and its imperial territories by making accessible a diverse selection of harder-to-find primary sources. These include religious fiction, poetry, essays, memoirs, sermons, travel writing, religious ephemera, unpublished notebooks and pamphlet literature. Spanning the long nineteenth century (c.1789–1914), the resource departs from older models of ‘the Victorian crisis of faith’ in order to open up new ways of conceptualising religion. Volume four on ‘Disbelief and New Beliefs’ explores the transformation of the religious landscape of Britain and its imperial territories during the nineteenth century as a result of key cultural and intellectual forces.