Forming Michael Field

2021 ◽  
pp. 27-56
Author(s):  
LeeAnne M. Richardson
Keyword(s):  
Michael Field

Scents and Sensibility

2017 ◽  
Author(s):  
Catherine Maxwell
Keyword(s):  
Virginia Woolf ◽  
Victorian Literature ◽  
Cultural Context ◽  
Literary Analysis ◽  
Walter Pater ◽  
Algernon Charles Swinburne ◽  
Victorian Poetry ◽  
Michael Field ◽  
Sense Of Smell ◽  
Romantic Poetry

A major reconceptualization of the imagination that reinstates its hidden links with the historically neglected sense of smell, this book is the first to examine the role played by scent and perfume in Victorian literary culture. Perfume-associated notions of imaginative influence and identity are central to this study, which explores the unfamiliar scented world of Victorian literature, concentrating on texts associated with aestheticism and decadence, but also noting important anticipations in Romantic poetry and prose, and earlier Victorian poetry and fiction. Throughout, literary analysis is informed by extensive reference to the historical and cultural context of Victorian perfume. A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark André Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things such as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.

VICTORIAN WOMAN’S POETRY

1999 ◽  
Vol 27 (2) ◽  
pp. 601-609 ◽  
Author(s):  
Linda Shires
Keyword(s):  
Poetic Tradition ◽  
Subject Positions ◽  
Michael Field ◽  
Sonnets From The Portuguese ◽  
Religion And Sexuality

PART OF THE EXCITEMENT of reading Victorian woman’s poetry lies in its manifold refusals to adopt wholesale the codes and conventions of the male poetic tradition. Such refusal may manifest itself in the bold rewriting of forms (as in Elizabeth Barrett Browning’s Sonnets from the Portuguese), or in the unhinging of domestic or romantic pieties through irony and other doubling strategies (as in Dora Greenwell’s “Scherzo” or Christina Rossetti’s “Winter: My Secret”). Both the rewriting of male forms and the attack on conventional ideologies opened up new subject positions for women. For example, women’s responses to poetic tradition and to each other’s work initially made use of expressive theory to explore sexual and religious passions simultaneously (as in the poetry of the Brontës), while towards the end of the century, when religion and sexuality were not so inextricably intertwined, women could openly celebrate non-hierarchical sexualities (as in the lesbian poems of Michael Field).

Machining and Grinding: A Historical Review of the Classical Papers

1993 ◽  
Vol 46 (3) ◽  
pp. 80-132 ◽  
Author(s):  
R. Komanduri
Keyword(s):  
Metal Cutting ◽  
Historical Review ◽  
Living Standards ◽  
Michael Field ◽  
Tool Materials ◽  
The Us ◽  
Giant Step ◽  
Grinding Tool ◽  
Manufacturing Productivity ◽  
American Classic

Major contributions to machining and grinding research in the US came in the twentieth century. The seminal work by Frederick Winslow Taylor on the Art of Cutting Metals published in 1907 was the beginning of a series of serious and systematic studies on the various aspects of metal cutting and grinding in this century. This monumental work, which became an American classic, continues to inspire many a researcher in this field even today. It was followed by the works of other pioneers, including Orlan W Boston, Hans Ernst, M E Martellotti, Max Kronenberg, M Eugene Merchant, Milton C Shaw, Michael Field, John Kahles, K J Roubik, K Armitage, Ken Trigger, B T Chao, Alfred Schmidt, William W Gilbert, Fran Boulger, Lester Colwell, Carl Oxford, Erich Thomsen, Robert Hahn, and many others. Many of the associates of the pioneers including Nathan Cook, Iain Finnie, B F von Turkovich, Shiro Kobayaski, Inyong Ham, E Loewen, and others including W B Rice, S M Wu, and J Tlusty have made significant contributions to these fields in their own right. There is no doubt that this century will be heralded by the historians as the golden age of metal cutting and grinding research, particularly the period between 1940 and 1960. It was, however, M Eugene Merchant’s paper on the Basic Mechanics of the Metal Cutting Process in 1945 that took a giant step from the art of metal cutting to the science of metal cutting. This work laid the foundation for much of the work that is practiced today. It can be stated unequivocally that because of the significant contributions by the pioneers and their associates, metal cutting and grinding research today is rich in its heritage and contents, and has contributed towards the improvement of manufacturing productivity. It has thereby facilitated the improvement of living standards around the world. In this review, the following ten topics are addressed briefly: Physics of Machining; Mechanics of Machining; Shear and Friction in Machining; Thermal Aspects of Machining and Grinding; Tool Materials, Tool Wear, and Machinability; Multiple Cutting Points; Grinding; Vibrations in Machining; Surface Integrity; and Economics of Machining.

DISABILITY AND GENDER IN THE VISUAL FIELD: SEEING THE SUBTERRANEAN LIVES OF MICHAEL FIELD'S WILLIAM RUFUS

2012 ◽  
Vol 40 (1) ◽  
pp. 137-152
Author(s):  
Sharon Bickle
Keyword(s):  
Women Poets ◽  
Male Gaze ◽  
Love Affair ◽  
Michael Field ◽  
Love Story ◽  
Multiple Voices ◽  
Successful Recovery ◽  
Edith Cooper ◽  
Critical Approaches ◽  
And Gender

When the UK'sGuardiannewspaper featured “La Gioconda” as poem of the week in January 2010, the paper's popular readership discovered what many late-Victorian scholars had known about for some time: the poetic partnership of Katharine Bradley (1846–1914) and Edith Cooper (1862–1913), known as “Michael Field.” The successful recovery of the Fields as significant late-Victorian writers – a project now in its second decade – seems poised to emerge into popular awareness driven as much by interest in their unconventional love affair as by the poetry itself. Scholars too have been seduced by the romance of a transgressive love story, and the critical nexus between sexuality and textuality has produced remarkable scholarship on the Fields’ lyric poetry: those texts in which the personas have a rough equivalence with Bradley and Cooper themselves. Yopie Prins first noted the complex engagement of multiple voices with lyric structure in Long Ago (74–111), and Ana Parejo Vadillo (Women Poets 175–95), Jill Ehnenn (73–96), and Hilary Fraser (553–56) expanded on this to uncover the transformation of the lyric's male gaze into a triangulated lesbian vision in Sight and Song (1892). In contrast to the recognition accorded their lyric verse, most critics have overlooked Michael Field's verse dramas. While there have been attempts to shift attention onto the plays, the significance of the Fields’ lesbian vision to the dramas has never been explored. This article seeks to redress this pervasive neglect and begin dismantling the boundaries that have grown up between critical approaches to the lyrics and the plays.

Lyric, Aestheticism and the Later Nineteenth Century

2016 ◽  
Author(s):  
Marion Thain
Keyword(s):  
Nineteenth Century ◽  
Lyric Poetry ◽  
Late Nineteenth Century ◽  
Michael Field ◽  
Time Space ◽  
Edith Cooper ◽  
Late Nineteenth ◽  
Katharine Bradley

Chapter 1 offers important historical and conceptual contexts for the late nineteenth century. The chapter suggests that ‘aestheticist lyric poetry’ might be usefully conceptualised ‘through the twin impetuses of conceptual expansion and formal reduction’. It then goes on to outline the context of ‘cultural modernity’, to which it is suggested aestheticist lyric poetry is responding, in order to define further the ‘crisis’ in lyric. It also introduces the three conceptual frames that set the remit for the three parts of the book; these are three key axes around which lyric poetry operates: time, space and subjectivity. Chapter 1 ends with a preliminary case study from the work of ‘Michael Field’ (the assumed name of Katharine Bradley and Edith Cooper) to demonstrate in practice the relevance of the three frames to aestheticist poetry.

Adept Sailing before the Storm

2018 ◽  
pp. 68-100
Author(s):  
Barbara Lounsberry
Keyword(s):  
Michael Field ◽  
Outer World ◽  
Travel Diary ◽  
Edith Cooper ◽  
Artistic Self

Woolf's next two diary books, her 1932 diary and her 1933–34 diary, help her to navigate the difficult strait between the outer and the inner conflicts. She needs these diaries’ support, for, as the gathering outer storm forms, she faces both the strains of her inner artistic self and the loss of her friends. In late November of 1933, she consciously turns from the troubling outer world to the dual-voiced diary of Katherine Bradley and Edith Cooper, the aunt and niece verse dramatists who published together under the name Michael Field. There, she finds not only lesbian playwrights and their trials but also the word “outsiders.” In February 1934, her response to a famous travel diary—Arthur Young’s Travels in France during the years 1787, 1788, 1789—shows her recoil from war.

Michael Field*

2017 ◽  
pp. 237-257
Author(s):  
Angela Leighton
Keyword(s):  
Michael Field
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