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Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1994
Published online by Cambridge University Press: 24 October 2008
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References
A. Primary Works
A94: 1.Browning, Elizabeth Barrett. “Refocillation: From ‘Preface to Mrs. Browning's Poems Published in 1844’.” VP 32.2 (Summer 1994): 140.Google Scholar
*A94: 3.Browning, Robert. The Pied Piper, illus. by Greenaway, Kate. New York: Derrydale P, 1993.47 pp.Google Scholar
*A94: 4.Browning, Robert. The Pied Piper, retold and illus. by Michele Lemieux. New York: Morrow, 1993. 32 pp.Google Scholar
¶Rev. by Emergency Librarian 21.4 (Mar.-Apr. 1994): 16; Horn Book Guide 5.2 (Spring 1994): 108; Library Talk 7 (May 1994): 39;Google Scholar
A94: 5.Kelley, Philip, and Lewis, Scott, eds. The Brownings' Correspondence, Volumes 9 & 10. [See A91: 8 & A92:12.]Google Scholar
A94: 6.Kelley, Philip, and Lewis, Scott, eds. The Brownings' Correspondence, Volumes 10 & 11. [See A92: 12 & A93: 9.]Google Scholar
A94: 7.Kelley, Philip, and Lewis, Scott, eds. The Brownings' Correspondence, Volume 12: January 1846–May 1846. Winfield, KS: Wedgestone P, 1993. xii + 426 pp.Google Scholar
A94: 8.McSweeney, Kerry, ed. Introd. and notes to Elizabeth Barrett Browning: Aurora Leigh. [See Av93/10.]Google Scholar
A94: 9.Raymond, Meredith B., and Sullivan, Mary Rose, eds. Introd. and notes to Elizabeth Barrett Browning: Selected Poetry and Prose. Durham, NC: Labyrinth P 1993 236 pp.Google Scholar
A94: 10.Reynolds, Margaret, ed. Introd. and notes to Aurora Leigh, by Elizabeth Barrett Browning. [See A92:16.]Google Scholar
B. Reference and Bibliographical Works and Exhibitions
B94: 1.Cohen, Edward H., ed. “Victorian Bibliography for 1994.” VS 37.4 (Summer 1994): 729–30.Google Scholar
B94: 2.Donaldson, Sandra. Elizabeth Barrett Browning: An Annotated Bibliography. [See B93: 2.]Google Scholar
B94: 3.Donaldson, Sandra M., and Pavlish, Catherine. “Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1991.” VLC 22 (1994): 373–99.Google Scholar
B94: 4.Gibson, Mary Ellis. “Guide to the Year's Work in Victorian Poetry: 1993 and 1994: Robert Browning.” VP 32.3–4 (Aut.-Win. 1994): 457–69.Google Scholar
B94: 5.Humphrey, Rita S., and Burgess, Cynthia A.. Elizabeth Barrett Browning: Life in a New Rhythm. Waco, TX: Armstrong Browning Library, and New York: The Grolier Club, 1994. 73 pp. ¶ Catalogs an exhibition of materials from the ABL by and about EBB held at the Grolier Club December 1993 through February 1994, previewed at the ABL conference on EBB in November 1993.Google Scholar
B94: 6.Magoon, Joseph. A Bibliography of Writings about the Brownings: Robert Browning and Elizabeth Barrett Browning from 1980 to 1989. Bournemouth: Privately published, 1990. 44 pp.Google Scholar
B94: 7.Mermin, Dorothy. “Guide to the Year's Work in Victorian Poetry: 1993 and 1994: Elizabeth Barrett Browning.” VP 32.3–4 (Aut.-Win. 1994): 453–57.Google Scholar
C. Biography, Criticism, and Miscellaneous
C94: 1.Adams, Robert. “Browning's Bishop and St Praxed's ‘Work’.” Notes and Queries n.s. 41.3 (09 1994): 354–56. ¶ Provides information about Saint Praxed, who gave Christian burial to martyrs, an ironic comment on the Bishop, “a compromised worldling.” According to legend, a well of martyrs' blood is in the church, Santa Prassede. RB would have seen Muratori's painting of the scene or read about it in Murray's guidebooks.CrossRefGoogle Scholar
C94: 3.Armstrong, Isobel. Victorian Poetry: Poetry, Poetics, and Politics. London: Routledge, 1993. 545 pp. passim, ¶ Explores the conjunction of aesthetics and politics in Victorian poetry, taking RB and Tennyson as central figures whose work embodies the ideas of Benthamite progressives and Coleridgean conservatives respectively. There is, however, “no straightforward co-relation between” their poetry and these intellectual formations; nevertheless, waves emanating from these interactions affected the work of the other poets of the period. EBB is not considered in detail because she is now receiving much “renewed contemporary feminist interest”; instead, Christina Rossetti is taken as the third major figure.Google Scholar
C94: 4.Barolini, Helen. “The Italian Side of Emily Dickinson.” Virginia Quarterly Review 70.3 (Summer 1994): 461–79. ¶ lncludes EBB among the writers on Italy whom Dickinson read, and draws connections between Dickinson's poems and commentary on things Italian and EBB's Aurora Leigh, EBB's association with Margaret Fuller in Italy, and Germaine de Staël's Corinne or Italy, a novel which informs much of Aurora Leigh.Google Scholar
C94: 5.Barrett, Dorothea. “Linguaggio e desiderio in ‘Aurora Leigh’.” Partilora, Dimensione “D” 21–32. ¶ Notes that EBB distinguishes between the writer and her work, especially with regard to the love between her and her husband, about which we know very little. The classical epic — “masculine, affirmative, assertive and authoritative” — may be contrasted with the “private voice” of Aurora Leigh. The language is erotic but its eroticism embraces all humanity. The language of the poem is in itself an object of desire and anticipates the work of Freud, Woolf, and modern feminist psychologists.Google Scholar
C94: 6.Barrett, Robert A. “Note on Barrett v Barrett.” BSN 22 (12 1994): 61–68. ¶ Describes the forty-year-long legal dispute over property — land, money, and slaves — in Jamaica and England, with EBB's father at the center and roots extending back to her great-grandfather.Google Scholar
C94: 7.Basham, Diana. “Aurora Leigh and the Language of the Mother.” The Trial of Woman: Feminism and the Occult Sciences in Victorian Literature and Society. New York: New York UP, 1992. 136–47. ¶ Relates nineteenth-century women's interest in the Spiritualist movement with their entry into public life as a “kind of fantasy context.” The civic and legal questions raised as the “Woman Question” had a “mirror enactment” earlier in Spiritualism (135). The declared aim of Aurora Leigh “was to prove the special responsibility [of] women's writing.” Through Spiritualism EBB explored “the metaphoric complexities surrounding the Woman Question”; she did so without underestimating, simplifying, or sentimentalizing “the contradictions implicit in the mother construct.”CrossRefGoogle Scholar
C94: 8.Black, Barbara J. “‘The works on the wall must take their chance’: A Poetics of Acquisition.” VP 32.1 (Spring 1994): 1–20. ¶ Observes that with the proliferation of museums in the nineteenth century, museum-poems — including RB's painter monologues and “A Likeness” — explore the “survival of art in the marketplace.” Ekphrastic principles do not pertain, but rather political and economic questions of art acquisition.Google Scholar
C94: 9.Blank, G. Kim, and Louis, Margot K., eds. Influence and Resistance in Nineteenth-Century English Poetry. New York: St. Martin's P, 1993. 306 pp.CrossRefGoogle Scholar
*C94: 10.Bone, Drummond. “Surface, Particularity, and Scale.” Romantic Continuities, ed. Blaicher, Gunther and Gassenmeier, Michael. Essen: Blaue Eule, 1992. 172–81. ¶ Papers from symposium at Catholic University of Eichstatt, October 1990.Google Scholar
C94: 12.Brown, Susan Irene. “Engendering Genre: Victorian Poetry and the Woman Question.” DAI 53.08 (02 1993): 2822A. Univ. of Alberta, 1991. ¶ Includes EBB's Aurora Leigh and RB's The Ring and the Book.Google Scholar
C94: 13.Calcraft-Rennie, Mairi. “Dis-Temper and the Failed Ideal: Browning's ‘Numpholeptos’.” BSN 22 (12 1994): 30–50. ¶ Analyzes RB's “Numpholeptos,” focusing on the influences of Plato, Dante, Shelley, Byron, and EBB. The static nymph is “an impossible ideal object of love,” quite different from the active lover who suffers the mania of attraction. Completion of the “Romantic idealist's quest” is death, which must be resisted, despite the “nameless dissatisfaction,” the “distemper.”Google Scholar
C94: 14.Chambers, Diane Marie. “The Tie That Binds: The Idealization of Sisterhood in Victorian Literature.” DAI 55.06 (12 1994): 1567A. Ohio State Univ., 1994. ¶ Includes EBB.Google Scholar
C94: 15.Cianciolo, Patricia J. “Creating Variants with Illustrations.” Once Upon a Folktale: Capturing the Folklore Process with Children, ed. Blatt, Gloria. New York: Teachers College P, 1993. 97–108. ¶ Uses the work of five illustrators of RB's The Pied Piper to show how artists create variants through their depictions of characters and the scenes they choose to illustrate. Their styles are distinctive and shape their versions of the tale. Using these variants in the classroom can amplify the students' experience of the story and introduce them to diverse artistic styles.Google Scholar
C94: 16.Conley, Susan. “‘Poet's Right’: Christina Rossetti as Anti-Muse and the Legacy of the ‘Poetess’.” VP 32.3–4 (Aut.-Win. 1994): 365–86. ¶Considers ways women poets have figured the muse, especially in relation to one another. EBB's “A Musical Instrument” either suggests “the poetic vocation involves emasculation, even castration for men” or renders the woman poet “the poem's absent presence.” The question of the woman poet as “both subject and object of her poem” appears also in Michael Field's “To Christina Rossetti” and Rossetti's Monna Innominata.Google Scholar
C94: 17.Cook, Eleanor. “The Italian Journey: From James to Eliot to Browning.” The Motif of the Journey in Nineteenth-Century Italian Literature, ed. Magliocchetti, Bruno and Verna, Anthony. Gainesville: UP of Florida, 1994. 41–52. ¶ Follows Henry James's journey in Portrait of a Lady backwards to George Eliot's Daniel Deronda to RB's “My Last Duchess,” arguing that the journey to Italy is “a unique type of Bildungsreise.” RB presents the “paradox of exquisite sensibility toward works of art combined with callousness toward other human beings,” which “may be seen in certain figures of the Italian Renaissance.”Google Scholar
C94: 18.Dell'Agnese, Bruna. “Elizabeth Barrett Browning e I ‘Sonnetti dal Portoghese’.” Partilora, Dimensione “D” 38–43. ¶ Observes that one cannot separate EBB's life and work, “so parallel are they.” The parallel accounts for the “absolute authenticity” of her work; more than just a romantic trait, this quality establishes her modernity. Unlike Emily Dickinson, her letter to the world was always and generously answered. The poems are revolutionary regarding both her position as a woman and the language she uses. Her new manner of writing poetry exhibits spontaneity, irony, and confidence.Google Scholar
C94: 19.DeLuise, Dolores, with Timko, Michael. “Becoming the Poet: The Feminine Poet-Speaker in the Work of Elizabeth Barrett Browning.” Virginal Sexuality and Textuality in Victorian Literature, ed. Lloyd Davis. [See C93: 9.]Google Scholar
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*C94: 21.Egan, Susanna. “Glad Rags for Lady Godiva, Woman's Story as Womanstance in Elizabeth Barrett Browning's Aurora Leigh.” English Studies in Canada 20.3 (09 1994): 283–300.CrossRefGoogle Scholar
C94: 22.Finn, Mary E. “The House (of Cards) that Rome Built: Shelley's The Cenci and Browning's The Ring and the Book.” Blank and Louis 188–202. ¶ Applies Carol Christ's theory of the relationship between particularity and universality as a Victorian reaction to Romanticism, using RB's Cenciaja and The Ring and the Book. “Browning plays Victorian historicist to Shelley's Romantic humanist”: in The Cenci “the real became the ideal,” whereas for RB the modernist, “the real merely remains the real, complicated, often sordid, and never explicable in any but the most relative and therefore most multitudinous terms.”CrossRefGoogle Scholar
C94: 23.Fiori, Gabriella. “Elizabeth Barrett Browning: Una Realizzazione di Indipendenza Amorosa.” Partilora, Dimensione “D” 52–57. ¶ Discusses Diary by EBB (A69: 5), especially domestic matters and the influence of H. S. Boyd on her life. The austerity and reserve of EBB's father contrast with the concern and generosity of her friend, Boyd. The diary marks an important step in the development of EBB's poetry toward independence, truth, and self confidence.Google Scholar
C94: 24.Fraser, Hilary. The Victorians and Renaissance Italy. Oxford: Blackwell, 1992. 308 pp. passim. ¶ Explores the modern idea of the Renaissance, citing EBB's revision of the male poetic tradition in Sonnets from the Portuguese and her application of political history and literary tradition to current events in Italy in Casa Guidi Windows. RB's poems on Renaissance themes and artists are derived from both Renaissance sources and the “cultural legacy” he was surrounded by in Italy, establishing “the realism of the art-work” as a “prerequisite to a metaphorical interpretation.” He viewed his own age and that of Renaissance Italy “as both reviver of the culture of ancient civilizations and fountainhead of modern art and letters.”Google Scholar
C94: 25.Friedman, Roberta Z. Gunod. “Ideal Love and Lovers in Three Victorian Sonnet Sequences.” DAI 55.04 (10 1994): 972A. Univ. of Maryland, College Park, 1993. ¶ Includes EBB, with Thomas Wade, and Christina Rossetti.Google Scholar
C94: 26.Giusti, Mariangela. “Una Lettura in Parallelo dei ‘Sonetti dal Portoghese’ di Elizabeth Barrett Browning e dei ‘Cento Sonetti D'Amore’ di Pablo Neruda.” Partilora, Dimensione “D” 33–37. ¶ Compares the sonnet sequences of EBB and Neruda, observing that hers are written in regular Miltonic form and Neruda's are irregular. His are grouped according to the time of day. Both sequences were written when the authors were mature. EBB's language leans toward the abstract, and Neruda's, the concrete. Neruda's poems demonstrate passion and happiness.Google Scholar
C94: 27.Hudson, Gertrude Reese. Robert Browning's Literary Life: From First Work to Masterpiece. [See C93: 21.]Google Scholar
*C94: 28.Humble, N. “Robert Browning and History.” Index to Theses 42.1 (1993): 34. Doctoral diss., Univ. of Oxford, 1991.Google Scholar
C94: 30.Kelley, Theresa M. “Robert Browning and Romantic Allegory.” Blank and Louis 166–87. ¶ Uses RB's poems of the 1860s and 70s to show Victorian poets accommodating “the figural power of allegory to apparently antithetical realist values.” His grotesque fantasies “work to offend readers' sense of realism” with exaggerations that make “the material edge of nineteenth-century realism a figure whose implied ground is … abstract and general.” The relationship between allegory and violence, which had been “kept at bay by English writers at least since the early eighteenth century,” is more overt in RB's poems of this period.Google Scholar
C94: 31.Kennedy, Richard S.Robert Browning's “Asolando”: The Indian Summer of a Poet. [See C93: 26.] ¶ Rev. by Nineteenth-Century Literature 49.3 (Dec. 1994): 424;Google Scholar
C94: 32.Kim, Won-Chung. “Beyond Romantic Love: Self, Other, and Relationships in Browning's Love Poems.” DAI 54.07 (01 1994): 2589A. Univ. of Iowa, 1993.Google Scholar
C94: 33.Lasner, Mark Samuels. “Collecting Robert and Elizabeth Barrett Browning.” Gazette of the Grolier Club 44 (1992): 35–51. ¶ Describes his career as a collector of books by and relating to the Brownings, especially association copies.Google Scholar
C94: 34.Lee, So-Hee. “The Relationship Between Class and Language in Aurora Leigh.” Journal of English Language and Literature (Korea) 39.4 (1993): 709–25. ¶ Examines writing and sexuality in Aurora's first-person narrative, focusing on class ideologies and the power of language and noting that “Aurora's fictional speech situation is Barrett Browning's actual reality.” Too, EBB makes “the working class fallen woman a speaking subject in her own defence,” as both Marian and Aurora resist the social and public silencing of women.Google Scholar
C94: 35.Leighton, Angela. Victorian Women Poets: Writing Against the Heart. [See C92: 43.]Google Scholar
C94: 36.Lewis, Linda M. “‘Schooled by Sin’: Reclaiming Eve in Elizabeth Barrett Browning's A Drama of Exile.” Victorians Institute Journal 22 (1994): 1–14. ¶ Argues that, in “A Drama of Exile,” EBB purposely revises Milton's Eve as “a figure of divine grace — not as perfect innocence — but because she has sinned.” Eve thus “understands and demonstrates God's salvational role of forgiveness,” making woman the true partner of man, rather than his slave.CrossRefGoogle Scholar
C94: 37.Lootens, Tricia. “Hemans and Home: Victorianism, Feminine ‘Internal Enemies,’ and the Domestication of National Identity.” PMLA 109.2 (03 1994): 238–53. ¶ Suggests in passing that Felicia Hemans's “mournful patriotism is central to a complex poetic tradition” that includes poems by EBB and other women writers.Google Scholar
C94: 38.Loucks, James F. “The Ring and the Book and The Land and the Book.” American Notes and Queries 7.3 (07 1994): 143–46.1 ¶ Suggests that RB ordered the terms in the title of The Ring and the Book to echo the best selling The Land and the Book by clergyman William McClure Thomson, boosting sales in America. The order would also not echo Thackeray's fairy story The Rose and the Ring.Google Scholar
C94: 39.Lucas, John. “A Note on Browning's ‘A Toccata of Galuppi's’.” Critical Survey 2.1 (1990): 42–48. ¶ Explicates RB's music poem in terms of meter, historical allusion, technical language, and philosophy.Google Scholar
C94: 40.McSweeney, Kerry. “Hardy's Poetic Antecedents.” Blank and Louis 91–111. ¶ Argues that Thomas Hardy was “the last major English poet of the nineteenth century” because he reflects the influence of Wordsworth, Shelley, Tennyson, RB, and Swinburne. He resisted the optimism of the “Prologue” to Asolando but remained a reader of RB's poems to the end of his life, most notably By the Fireside, which he cited in Tess of the D'Urbervilles and Jude the Obscure.Google Scholar
C94: 41.Melnyk, Julie Ann. “Faith of Our Mothers: Women's Religious Utterance in Nineteenth-Century Britain.” DAI 54.08 (02 1994): 3043A. Univ. of Virginia, 1993. ¶ Includes EBB.Google Scholar
*C94: 42.Meredith, C. L. “Spiritualism and Psychology in the Works of Robert and Elizabeth Browning, Henry and William James.” Index to Theses 41: 3 (1992): 905–06. Doctoral diss., Univ. of Cambridge, 1991.Google Scholar
C94: 43.Meredith, Michael. “Margaret Keep: Fancies and Facts.” BSN 22 (12 1994): 8–29. ¶ Examines Michael Timko's claim (C93:54) that Margaret Keep was the inspiration for the short love poems in Asolando. The relationship may have inspired the poems, but RB's feelings for her were likely not as deep as Timko asserts.Google Scholar
C94: 44.Mermin, Dorothy. Godiva's Ride: Women of Letters in England, 1830–1880. [See C93: 39.]Google Scholar
C94: 46.O'Sullivan, Maurice. “‘Subtly of Herself Contemplative’: The Legends of Lilith.” Studies in the Humanities 20.1 (06 1993): 12–34. ¶ Surveys representations of Lilith and her sensual appeal in Western literature, including RB's “curious” poem “Adam, Lilith and Eve.” RB here challenges traditional assumptions and focuses on psychology, emphasizing her closeness to Eve.Google Scholar
C94: 47.Partilora, Vania. “Tenacia e Amore di Elizabeth Barrett Browning.” Dimen-sione “D” Centro Studi Cultura e Progresso. Florence: Gabinetto G. P. Vieusseux, 1994. 11. ¶ Introduces volume of essays from a conference on EBB held in Florence on 14 March 1992.Google Scholar
C94: 48.Payne, Susan. “Elizabeth Barrett Browning: La Ricerca di una Identita Poetica.” Partilora, Dimensione “D” 44–51. ¶ Asserts that EBB's love for her art was “a passionate search for her own poetic voice.” Her poetry went through three phases, described by Elaine Showalter: imitation, reaction, and self discovery; “The Tempest” marks the transition from the first phase to the second. Critics disagree about whether she was referring to her father or to her brother “Bro.”Google Scholar
C94: 49.Peattie, R. W. “W. M. Rossetti and Browning's Sordello.” BSN 22 (12 1994): 51–60. ¶ Discusses Rossetti's critical support for RB and considers the likely shape of Rossetti's planned but unrealized exposition of Sordello.Google Scholar
C94: 50.Petch, Simon. “Law as Literature?” Sydney Studies 16 (1990–1991): 121–36. ¶ Cites the seventeenth-century legal case used by Desiderius Spreti in his defense of Guido Franceschini and by RB in The Ring and the Book. RB translates the case from legal discourse into poetry, revealing law and literature “grappling and communicating with each other.” Both professions “live by their fictions.”Google Scholar
*C94: 51.Polhemus, Robert M. “Dantellizing Peaches and Milching Daddy, the Gushy Old Goof: The Browning Case and Finnegan's Wake.” Joyce Studies Annual 5 (Summer 1994): 75–103.Google Scholar
C94: 52.Riede, David G. “Elizabeth Barrett: The Poet as Angel.” VP 32.2 (Summer 1994): 121–39. ¶ Discusses EBB's early struggle “to reconcile her religious faith, which called for self-restraint and even self-effacement, with a version of romanticism committed to individual, even egotistical self-expression.” She examines this conflict in An Essay on Mind and The Seraphim, and Other Poems.Google Scholar
*C94: 53.Roberts, A. C. “Robert Browning's Use of the Classics.” Index to Theses 41.5 (1992): 1918. Doctoral diss., Univ. of Cambridge, 1992.Google Scholar
C94: 54.Ross, Michael L. “Robert Browning's Dialectical City” and “Juxtaposition: Browning and Clough.” Storied Cities: Literary Imaginings of Florence, Venice, and Rome. Westport CT: Greenwood P, 1994. 29–44 and 211–29. ¶ Cites RB throughout an exploration of “urban settings as theaters of fictive action,” looking at the way “non-Italian imaginations have re-invented three great Italian cities.” RB's “Andrea del Sarto” and “Fra Lippo Lippi” are set in Florence and function dialectically to represent the paralysis and the explosive potential of the Renaissance. Rome as the setting for “The Bishop Orders His Tomb” and The Ring and the Book exerts its historical force; “the dubious battle to resist its downward tug” controls both poems.Google Scholar
C94: 57.Scheinberg, Cynthia. “Elizabeth Barrett Browning's Hebraic Conversions: Feminism and Christian Typology in Aurora Leigh.” VLC 22 (1994): 55–72. ¶ Examines EBB's use of Miriam, the Hebrew prophet, to invoke “literary and theological authority for women writers.” EBB does not, however, mention Miriam's later condemnation as a false prophet and her ejection from the community. In recreating Miriam, EBB challenges “the sexual politics of her moment” but, in her “desire to find a complete Christian identity,” rejects “the possibility that Jewish/Hebraic identity could ever be complete in itself.” To make the Christian assertion, she must construct Miriam “as ‘lacking.’”Google Scholar
C94: 58.Scheinberg, Cynthia. “Miriam's Daughters: Women's Poetry and Religious Identity in Victorian England.” DAI 54.07 (01 1994): 2592A. Rutgers, The State Univ., 1992. ¶ Includes EBB.Google Scholar
C94: 59.Schroeder, Horst. “The Robert Browning Passage in Oscar Wilde's ‘The Critic as Artist’.” English Language Notes 32.1 (09 1994): 62–66. ¶ Describes sources for Wilde's comment “Meredith is a prose Browning, and so is Browning,” demonstrating Wilde's wide knowledge of English literature and classical antiquity.Google Scholar
C94: 60.Shelton, Donna Skeen. “(Intra)Textuality: Layers of Text as Argument in Browning's The Ring and the Book.” Conference of College Teachers of English Studies 59 (1994): 83–88. ¶ Explores the book metaphor as it relates to RB's poem's central argument about multiple points of view. The “elements of proof” provide “the intratextual basis for demonstrating the argument itself.” By this means, readers are challenged “to forge their own interpretations.”Google Scholar
C94: 61.Shields, Audrey Carr. “Gypsy Stereotypes in Victorian Literature.” DAI 54.08 (02 1994): 3045A. New York Univ., 1993. ¶ Includes RB's “The Flight of the Duchess” and other poems.Google Scholar
C94: 62.Shires, Linda M. “Specialized Materials: Production and Consumption.” VP 32.3–4 (Aut.-Win. 1994): 440. ¶ Uses EBB's career to test Pierre Bourdieu's theories in The Field of Cultural Production.Google Scholar
*C94: 63.Squire, S. “Poetry and Autobiography in the Work of Robert Browning.” Index to Theses 41: 4 (1992): 1438. Doctoral diss., Univ. of Oxford, 1991.Google Scholar
C94: 64.Stone, Marjorie. “Sisters in Art: Christina Rossetti and Elizabeth Barrett Browning.” VP 32 (Winter 1994): 339–64. ¶ Observes that the “destabilizing forces of desire and conflict” in Rossetti's sister poems in Goblin Market can also be discerned in her relationship with EBB. Just as poem conflicts are associated with a masculine third party, tensions between Rossetti and EBB are typically linked to D. G. Rossetti and later to Rossetti's increasingly fixed faith in Christ.Google Scholar
C94: 65.Tucker, Herbert F. “Aurora Leigh: Epic Solutions to Novel Ends.” Famous Last Words: Changes in Gender and Narrative Closure, ed. Booth, Alison. Charlottesville: UP of Virginia, 1993. 62–85. ¶ Considers EBB's use of “certain epicizing conventions” in Aurora Leigh: “its ring structure, the procession of its narrative point of view, its coordination of cosmos with psyche through images of fluid dissolution.” These conventions provided “a variety of means for loosening the realist novel's grip on Victorian narrative as a shaper of women's lives.”Google Scholar
C94: 66.Tucker, Herbert F. “Representation and Repristination: Virginity in The Ring and the Book.” Virginal Sexuality and Textuality in Victorian Literature, ed. Davis, Lloyd. [See C93: 56.]Google Scholar
C94: 67.Tucker, Herbert F. “Wanted Dead or Alive: Browning's Historicism.” VS 38.1 (Autumn 1994): 25–39. ¶ Looks critically at “today's historicist climate,” by analyzing two reactions to RB's “The Bishop Orders His Tomb at St. Praxed's Church.” Ruskin's “way of scholarly cognition” is — sadly — more likely to be heard today than EBB's “way of susceptible appreciation.”Google Scholar
C94: 68.Tufariello, Catherine Jean. “Language Experiments: Whitman, Dickinson, and the Poetics of Allusion.” DAI 54.12 (06 1994): 4444A. Cornell Univ., 1994. ¶ Includes Dickinson's elegies for EBB.Google Scholar
C94: 69.Vesco, Clotilde. “Elizabeth Barrett Browning: II Lamento dei Bambini e Le Finestre di Casa Guidi.” Partilora, Dimensione “D” 12–18. ¶ Describes the socioeconomic background of “The Cry of the Children,” most notably the work of R. H. Horne's commission investigating conditions of child labor. Similarly, “Casa Guidi Windows” frankly hopes for Italian independence and refers to contemporary events, especially the fall of the Roman Republic of 1848.Google Scholar
C94: 70.Waddington, Patrick. From The Russian Fugitive to The Ballad of Bulgarie: Episodes in English Literary Attitudes to Russia From Wordsworth to Swinburne. Oxford and Providence, RI:, Berg, 1994. 122–68. ¶ Revision of “Browning and Russia,” Baylor Browning Interests, No. 28 (October 1985). Provides historical background for a description of RB's trip to Russia in 1834 and the “long genesis” of “Ivan Ivanovitch,” published in Dramatic Idyls (1879), and surveys references to Russia in other poems and also some of EBB's, especially regarding the war in Crimea. Turgenev might possibly be “in part” the narrator of this “implausibly styled” and complex poem. The poem is included in an appendix.Google Scholar
C94: 71.Wallace, Anne D.Walking, Literature, and English Culture: The Origins and Uses of Peripatetic in the Nineteenth Century. Oxford: Clarendon P, 1993. 265 pp. passim. ¶ Cites Aurora Leigh, in which EBB “figures Aurora Leigh's artistic sensibilities and her determination to develop them in Aurora's independent walking.” Walking here is “an emblem of her commitment to her work,” having economic as well as spiritual and artistic significance.Google Scholar
C94: 72.Webster, Michael. “Searching for Browning's Traces in ‘The Dead’.” James Joyce Quarterly 31.4 (Summer 1994): 552–57. ¶ Considers various poems of RB's that Joyce might be referring to when Gabriel Conroy ponders what to quote in his speech: “Andrea del Sarto,” “A Toccata of Galuppi's,” and “Abt Vogler.” “Abt Vogler,” especially stanzas 9–11, satisfies the criteria for the unquoted quotation.Google Scholar
*C94: 73.Weikert, Heidrun-Edda. Robert Brownings kunstthematische Dichtung: ihr Epochenkontext Zwischen Spatgotik Victorianismus. Stuttgart: Steiner, 1989. 318 pp.Google Scholar
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*C94: 74.Williams, J. M. “Voices against Darknesses: The Development of the Nightingale as a Poetic Symbol in Selected Poems from the Medieval Period to Elizabeth Barrett Browning.” Index to Theses 42.2 (1993): 469–70. Doctoral diss., Univ. of Wales, Cardiff, 1991.Google Scholar