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>'Lactilla tends her fav'rite cow': Domesticated animals and women in eighteenth-century British labouring-class women's poetry (Mary Collier, Elizabeth Hands, Ann Yearsley, Janet Little).
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'Lactilla tends her fav'rite cow': Domesticated animals and women in eighteenth-century British labouring-class women's poetry (Mary Collier, Elizabeth Hands, Ann Yearsley, Janet Little).
This dissertation examines issues of gender, class and species in the work of five eighteenth-century British labouring-class women poets, Mary Collier (1690–1762), Mary Leapor (1722–1746), Elizabeth Hands (fl. 1789), Ann Cromartie Yearsley (1752–1806) and Janet Little (1759–1813).; Using ecocriticism, which posits links between literature and the physical world, and ecological feminist theories, which emphasize the interdependence of women and nature as a feminist issue, the author interrogates the meanings of “nature” in the eighteenth century as they are represented in labouring-class women's poetry and in other relevant eighteenth-century texts such as Le Comte de Buffon's Histoire Naturelle (1749–1804), Mary Astell's Some Reflections on Marriage (1700), Bernard Mandeville's Fable of the Bees (1714) and Thomas Topham's Treatise on Cattle (1787). Fashioning new critical readings of labouring-class women's poetry which focus on nature at the intersection of gender, class and species rather than merely the scene of the narrative or the mirror of the protagonist's mind, the author exposes the ideological functions underlying particular conceptualizations of nature. For eighteenth-century labouring-class women poets, a poignant and potent example is the popular idea of the “natural Genius” as an uneducated “rustic” who composes poetry “spontaneously”.; Chapter one begins by defining “domestication”—of women in the family, animals, domestic servants and labouring-class women poets—in the context of Mary Leapor's poem “Man the Monarch” (1746). In chapter two, the relationship between a labouring-class woman poet and a mad heifer is read through the ecological feminist concept of “interlocking oppressions”. In chapter three, the author explores the changing nature of farm labour as the division-of-labour is naturalized within the quintessential emblem of industry—the beehive. Chapters four and five both focus on the forced artificiality of the domesticated pet as “essential” to the nature of a burgeoning consumer culture. The dissertation ends with a consideration of the relationship between literary criticism and environmental politics in the context of the twentieth-century environmental crisis.
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机译：本论文研究了五位18世纪英国劳动阶级女诗人玛丽·科利尔（Mary Collier（1690–1762），玛丽·里珀（Mary Leapor）（1722-1746），伊丽莎白·汉德（Elizabeth Hands）（ fl。< / italic> 1789年），Ann Cromartie Yearsley（1752-1806年）和Janet Little（1759-1813年）。运用生态批评和生态女性主义理论，生态批评在文学与自然世界之间建立联系，生态女性主义理论强调女性作为女性主义问题与自然的相互依存，作者审视了十八世纪在劳动中所代表的“自然”的含义。阶级妇女的诗歌以及其他18世纪相关文本中，例如勒孔德·德·布冯（Le Comte de Buffon）的 Histoire Naturelle （1749–1804），Mary Astell的对婚姻的几点思考（1700），伯纳德·曼德维尔（Bernard Mandeville）的《蜜蜂的寓言》（italic）（斜体）（1714年）和托马斯·托普汉姆（Thomas Topham）的《牛论》（italic）（斜体）（1787年）。作者对劳动阶级妇女诗歌进行了新的批判性解读，着眼于性别，阶级和物种交集的自然，而不仅仅是叙事场景或主角思想的镜子，作者揭示了特定自然概念背后的意识形态功能。 。对于18世纪劳动阶级的女诗人来说，一个令人发指且有力的例子是“自然天才”的流行观念，即“自然的天才”是没有受过教育的“质朴”的人，是“自发地”创作诗歌的。第一章以玛丽·里珀（Mary Leapor）的诗歌《君主制》（Man the Monarch）（1746）为背景，定义了“驯化”-包括家庭中的妇女，动物，家佣和劳动阶级的女诗人。在第二章中，通过生态女性主义概念“联锁的压迫”来解读劳动阶级的女诗人和疯小母牛之间的关系。在第三章中，作者探讨了随着劳动的典型象征-蜂巢而自然化的劳动分工的变化性质。第四章和第五章都着重论述了被驯化的宠物被强迫假造为对迅速发展的消费文化的本质“必不可少”的情况。本文以二十世纪环境危机背景下的文学批评与环境政治的关系作为结束。
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