En-Gendering the Sublime: Aesthetics and Politics in the Eighteenth Century

In this essay I expand on the analysis of the en-gendered sublime, an aesthetic concept of political consequence used in the eighteenth century. In a discussion of the initial phase of modern aesthetics I will present Immanuel Kant's opinions on the sublime's ennobling effect as having solely male connotations. This, I argue, became an important part of the construction of a new notion of citizenship on the basis of nationality and as an exclusively male domain. Furthermore, I will claim that conceptions of the “bad” sublime, as expressed by thinkers such as Edmund Burke, made up another side of this ennobling sublimity coin, which was the politically provocative defined in female terms. Aesthetics has obviously walked hand-in-hand with politics ever since Plato's Republic, and the concept of the sublime only make up a small part of this complex union—but undeniably a rather interesting one.     

Women,Science and Culture: Science in the Nineteenth-century Periodical

The Victorian periodical press offers unique insights into many diverse areas of nineteenth-century experience, and the complex relations between gender, science and culture in particular, yet it has been consistently marginalized as a primary resource in academic study. The Science in the Nineteenth-century Periodical (SciPer) project at the universities of Sheffield and Leeds is creating a new point of access to a wide range of non-specialist periodicals across the century by means of a fully searchable electronic index. By detailing the entire contents of each journal, and not just those articles that have a clear scientific relevance, it becomes clear that science formed a fundamental and integral part of nineteenth-century culture. The electronic index, moreover, will include hypertext cross-reference links that will allow the user to identify a dialogic pattern of encounters between ostensibly diverse articles, rather than only to browse in a simple chronological mode. By adopting this innovative approach, the SciPer database will reveal the manifold intertextual relations between the fictional works of women writers like Elizabeth Gaskell and the scientific articles that often appeared in the pages of the same magazines, and will show that writers of both sexes and across several different genres actively engaged in vibrant interdisciplinary debates concerning scientific issues in a forum provided by the periodical. Although the SciPer database itself is not specifically focused on issues of gender, the index will include several periodicals aimed explicitly at a female readership and, by providing access to titles still rarely utilized in modern scholarship, it will offer further insights into the important contemporary debates about women and science, as well as the more subtle ways, in which gendered imagery was employed within scientific discourse. This article details some critical findings from Punch , The English Womans Domestic Magazine , Cornhill Magazine and the Review of Reviews .     

The Woman in the Red Dress: Gender,Space, and Reading. Minrose C. Gwin. Urbana: U of Illinois P, 2002.

An eclectic montage of literary analysis, autobiography, and reader response, taking the form of personal anecdotes and autonomous essays, The Woman in the Red Dress takes the reader on a journey in which Minrose C. Gwin analyzes both metaphoric and physical personal space. As Gwin defines it, space is "not an entity that contains something else but [is] the swirl of social relations and productions in particular locations, whether these locations be material, cultural, or even psychological" (6). The purpose of Gwin's work, as she says, perhaps too repetitively is: "to dramatize textual encounters in which narrative, space, and gender inscribe themselves on one another and their readers" (38). The title of this volume refers to the first work Gwin discusses in her introduction: Native American poet Joy Harjo's poem, "Deer Dancer," about a woman in a stained red dress who dances naked on a bar, changing not just the lives of those present, but also those who, like the narrator, merely hear the story (6-7).