business and women's work. Both essay collections offer rich and varied accounts of women's economic position during the nineteenth century: Economic Women, through its attention to women's relationships to capitalism, and Crafting the Professional Woman, through its focus on women as amateur and professional artists. The heightened emphasis on the virgin's eroticization creates a tension between her purity and the inevitability of sex: "If soon she be not made a wife, / Her honour's singed, and then for life, / She's what I dare not name" (I.iv). Middlemarch reads George Eliot as critiquing William Stanley Jevonss theories of individual desire and consumption. Leslee Thorne Murphy shows that the association between women and consumerism that fuels the frequently mocking representation of bazaars in novels of the period could be put to political ends. Instead of searching for a female Crusoe or lamenting her nonexistence, Dailey and Rappoport bring together a diverse set of essays that reveal the multiple and various ways nineteenth-century women were economic agents. This diversity is unified by a common theme, clearly articulated in the introductory essay by the editors and recapitulated in Regenia Gagniers afterword, about the aftermath of the nineteenth century. This commodity fetishism of the wife spurs, in turn, the external desire of potential suitors, restoring equilibrium to the scales of eros.
Dalley and Jill Rappoport include purely literary approaches, historical approaches, and essays that combine the two. Peachum's abstention from the label for her daughter is a revealing gesture at this point (she has no problems tagging Polly with "sad slut" two songs afterwards). Blumberg also analyzes womens self-abnegation, arguing that. As Thorne-Murphy notes, this clash was also gendered, pitting women's overpriced handicraft (the traditional stock of a bazaar) against the cheap manufactured goods sold alongside them. An often aphoristic overview of the traditional power struggle between men and women frames a world in which marriage reduces the wooer's desire but raises his power by an equal degree through ownership as a husband. Dalley and Jill Rappoport introduce Economic Women by invoking Marx's "Homo Economicus the economic man epitomized in fiction by that self-sufficient empire builder, Robinson Crusoe. Dawn Island (1845)an idealized tale of free-trade, emancipation, imperial commerce, and gender cooperation (58).
Dalley and Jill Rappoport, showcases the.
Economic Women: Essays on Desire and Dispossession in Nineteenth-Century British C ulture includes twelve essays that rethink familiar models of and offer.
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Tara MacDonald also references the traditional associations of women with giving by citing anthropologist Annette Weiners. To support the range of economic identities women of the era embodied, Dailey and Rappoport have usefully divided their volume into four parts, each focused on a type of economy in which women participated. While Jevons argues that market prices follow our desires, the alternative view, given voice in Eliots work, shows that desire follows price (107). Womens participation in the masculine economy has traditionally been associated with consumption as opposed to production, a topic three essays. Despite her apparent choice in the matter, the virgin remains a passive figure, defending her compromised virtue as a dark secret: "After that, she hath nothing to do but to guard herself from being found out, and she may do as she pleases" (ii). Romola (186263) George Eliot offers sacrifice, end Page 542 as a female form of exchange. Subscribe to Questia and enjoy: Full access to this article and over 14 million more from academic journals, magazines, and newspapers. The opening of the collection focuses on authors who seek to complicate the pattern by which women have typically been associated with forms of exchange alternative to the marketplace. Furthermore, the passivity of the virgin"be not made a wife" (as with "It is tried and impressed exposes the threat of coitus against which she must guard herself. Along the lines of this anxiety, Mrs. Contributors analyze women as symbols of the economy and as living individuals consciously thinking through economic systems.