domesticity” (p. 7). The volume concludes with a section on “Reading Victorian Women’s poetry” which contains Houston’s essay on feminist computational criticism and an afterword by Isobel Armstrong. Armstrong’s piece asks vital questions about the value of a “separatist tradition of women’s poetry”, noting the risk of privileging a model of oppression which might copper-fasten the separate spheres (or, in Avery’s words, “ghettoize’ women’s poetry). However, as Armstrong points out, done well a separatist criticism might release women poets “from the coercive definitions of the separate sphere” and centralise women poets’ “active negotiation of the symbolic order” (p. 269). The Cambridge Companion to Victorian Women Poets unequivocally achieves this and it does so with an eye to those digital advances that make the volume so timely.

中文翻译：

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浪漫时期小说中的女性家庭活动，1770-1820

家庭生活”（第 7 页）。该卷以“阅读维多利亚时代女性的诗歌”一节结束，其中包含休斯顿关于女权主义计算批评的文章和伊莎贝尔·阿姆斯特朗的后记。阿姆斯特朗的作品就“女性诗歌的分离主义传统”的价值提出了至关重要的问题，并指出了赋予压迫模式特权的风险，这种模式可能会将分离的领域牢牢固定（或者，用艾弗里的话来说，“贫民窟化”女性诗歌）。然而，正如阿姆斯特朗所指出的，分离主义批评做得好可能会使女性诗人“从分离领域的强制性定义中解脱出来”，并使女性诗人“对象征秩序的积极谈判”集中起来（第 269 页）。剑桥维多利亚时代女性诗人指南明确地实现了这一点，它着眼于那些使该卷如此及时的数字化进步。