Reviewed by: Cheryl LaGuardia, Research Librarian, Widener Library, Harvard University
Nineteenth-Century Gender Studies is “committed to publishing insightful and innovative scholarship on gender studies and nineteenth-century British literature, art and culture.” The journal endorses “a broad definition of gender studies and welcomes submissions that consider gender and sexuality in conjunction with race, class, place and nationality.” Three issues are published per year, two regular issues plus a specially-themed summer issue. The journal also publishes book reviews including “short reviews of single works, multiple book reviews, short review essays (devoted to 2 or more recent books on a single topic), and full-length review essays (assessing recent developments in established or emerging areas of nineteenth-century studies).”
The current issue as of this review is Issue 11.3 for Winter, 2015, a Special Issue on, “Relations: Literary Marketplaces, Affects, and Bodies of 18th- and 19th-Century Women Writers.” It begins with an Introduction that notes, “The papers in this issue demonstrate a shared questioning of the affective, bodily, and market-driven dimensions of relations in literary text and lived experience.” Next are two keynote articles: “‘Ashamed of the Inkpot’: Virginia Woolf, Lucy Clifford, and the Literary Marketplace,” and “‘Emotions that reason deepens’: Second Thoughts about Affect,” followed by the articles, “Scholarly Collaboration for a Feminist New Age in Jane Harrison’s and Jessie Weston’s Alternative Histories,” “Ménage à trois at the Monthly Museum,” “Hypochondria and the Failure of Relationship,” and ““Edible Women and Milk Markets: The Linguistic and Lactational Exchanges of ‘Goblin Market.’” The issue previous to this, the special summer issue on “Illustration and Gender: Drawing the Nineteenth Century,” Issue 11.2 (Summer 2015), offers an Introduction that notes, “An online literary and cultural studies journal is a particularly appropriate forum for this special issue because the study of nineteenth-century illustration, as a discipline, is rapidly evolving online. There has been a recent influx of new digital projects and research groups; among them are the Database of Mid-Victorian Illustration (DMVI), online since 2007, the Romantic Illustration Network (RIN), begun in 2014, and The Illustration Archive, which went online in March 2015.” The issue continues with the articles, “Waist Not, Want Not: The Corseted Body and Empire in Vanity Fair,” “Suitable Work for Women? Florence Claxton’s Illustrations for The Clever Woman of the Family by Charlotte Yonge,” “Mary Hallock Foote: Reconfiguring The Scarlet Letter, Redrawing Hester Prynne,” and “‘God-gifted girls’: The Rise of Women Illustrators in Late Nineteenth-Century Philadelphia,” followed by the reviews “Finding Feminist Art History in the Nineteenth Century” (a review of Temma Balducci and Heather Belnap Jensen’s Women, Femininity and Public Space in European Visual Culture, 1789-1914 and Hilary Fraser’s Women Writing Art History in the Nineteenth Century: Looking Like a Woman, “Not Just a Pretty Picture” (a review of Paul Goldman and Simon Cooke’s Reading Victorian Illustration, 1855-1875: Spoils of the Lumber Room,” “Brotherhood: Interrogating Pre-Raphaelite Manliness,” a review of Amelia Yeates and Serena Trowbridge’s Pre-Raphaelite Masculinities, “Gender and Lyric Intimacy at the Fin de Siècle,” a review of Emily Harrington’s Second Person Singular: Late Victorian Women Poets and the Bonds of Verse, and “Wishful Telepathy: Austen’s Role as Romatic Advisor,” a review of Sarah Raff’s Jane Austen’s Erotic Advice.
Upon reading these articles and reviews what strikes me is that the material is both scholarly and very accessible, so both specialists and non-specialists will find matter of interest. This is a title all scholars in nineteenth century history, the arts, literature, and gender studies will find useful.