New PDF release: British Women Writers and the Reception of Ancient Egypt,

By Molly Youngkin

Focusing on British girls writers' wisdom of old Egypt, Youngkin indicates the frequently constrained yet pervasive representations of historic Egyptian girls of their written and visible works. photos of Hathor, Isis, and Cleopatra motivated how British writers corresponding to George Eliot and Edith Cooper got here to symbolize woman emancipation.

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Extra resources for British Women Writers and the Reception of Ancient Egypt, 1840–1910: Imperialist Representations of Egyptian Women

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Robert S. Levine’s essay in this collection, “Road to Africa: Frederick Douglass’s Rome,” indicates that, for the more adventurous traveler, Rome was the midway point between England and Africa, the Near East, or the Far East. Frederick Douglass’s reaction to Rome, while on his way to Egypt in 1887, is particularly relevant, since Douglass’s understanding of race issues in the United States allowed him to see Rome as the beginning of a process of encountering people he believed looked more like him and other African Americans.

Still, many men and some women found travel to Rome creatively invigorating. The American sculptors Hiram Powers and William Wetmore Story, both of whom drew on classical subjects for their work, had fruitful careers there (Powers 53), and, as Alison Chapman and Jane Stabler show in their collection, Unfolding the South: Nineteenth-Century British Women Writers and Artists in Italy (2003), women writers and artists who went to Rome found a place where they could be artistically productive, though they sometimes experienced “complex and painful anxieties about professional identity and vocation” there (8).

New liaison with some new Western lover, in all probability France [,] . . [or an] arrangement with the European Powers [,] . . political polyandria of the most odious and demoralizing kind. (127) 10 ● British Women Writers and Ancient Egypt This portrayal of Egypt as Cleopatra, who is always in alliance with some European power, often as its “slave-mistress,” draws heavily on the stereotypical view of Cleopatra as Eastern seductress, who can only bring trouble to England. The second article in The National Review, a fictional piece by the Australian artist Mortimer Menpes titled “The Actualists.

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