• Victorian Women Poets
• Heather Bozant Witcher (bio)

Scholarship on women poets in 2019 again demonstrates the significance of periodical contexts and archival materials. A number of scholars this year reveal the ongoing work needed to develop complex understandings of women poets, their poetry, and their engagement in the publication and business of poetry writing. In addition to this focus on contextualization, scholarship also [End Page 390] emphasizes the multimodality of Victorian women’s poetry, illuminating fascinating connections between disciplines and temporal boundaries. Interest in late-nineteenth-century writers remains strong with attention to decadence and ecological concerns as a means of expanding scholarly conceptions of the Victorian period.

Once again, scholarship in 2019 shows the prominence of women poets in Victorian studies. As Linda K. Hughes notes in her introduction to the newest edited volume on Victorian women poets, The Cambridge Companion to Victorian Women’s Poetry (Cambridge: Cambridge Univ. Press, 2019), the biggest difference between scholarship from the 1990s and today is the availability of women’s poetry due to digitization (p. 1). This unprecedented access to women’s poetry has changed our attitudes surrounding literary annuals and periodicals: “once dismissed as ephemeral literary trash, they have become important sites of research on women’s poetry and women’s agency as editors, writers, and readers” (p. 1). Digitization has also increased our attention to the volume of poetry written by women—from more prominent figures to obscure and understudied poets—and the significant place that poetry held within the Victorian imagination. Hughes’s edited collection examines women’s poetry through historically contextualized readings and analyses to locate the complex poetic techniques and voicings that “make so many women’s poems memorable” (p. 3).

Much scholarship this year emphasized the prominence of periodicals as an “important site of research” (Hughes, p. 1). Sarah Anne Storti’s recovery of Letitia Landon offers an exciting and innovative look at the poet as a “media theorist and practitioner,” drawing attention to Landon’s experimental poetics in early-nineteenth-century print media (p. 533). “Letitia Landon: Still a Problem” (VP 57, no. 4 [2019]: 533–556) provides fresh insight into the publication history of Landon’s works in magazines and literary annuals, revealing her role in print culture and her capacity for not only embedding multiple forms of media as a hallmark of her poetics, but also an ability to exploit and critique the production of nineteenth-century media through what Storti terms “a culture of recycling” (p. 537). This innovative facility to rework her own published poems leads Storti to label Landon the “muse of reuse,” provocatively suggesting that her poems are recyclable objects dependent upon publication contexts. This enlightening aspect of Landon’s publication history asks scholars to see the poet anew—not from a biographical context, as she has often been read, but as a leading media theorist of the nineteenth century.

While not solely focused on women poets, Caley Ehnes’s Victorian Poetry and the Poetics of the Literary Periodical (Edinburgh: Edinburgh Univ. Press, [End Page 391] 2019) explores the literary periodicals of the 1860s to examine how poetry functioned as part of the publication’s branding. Indeed, Ehnes argues that the centrality of literary periodicals to the careers of poets suggests that these periodicals shaped both poetic form and the purpose of poetry for middle-class readers and the poets themselves. To focus attention on the periodical and its poetry, the monograph is organized according to different middle-class publications (weeklies, shilling monthlies, religious periodicals, and the sensation magazine, Argosy) rather than a set of authors. In the context of women poets, Ehnes’s chapter on the Argosy is most important as it examines how women poets such as Christina Rossetti, Isa Craig, Jean Ingelow, and Sarah Williams negotiated the conventions of sentimental poetry to produce a new poetics, “defined both through and against conventional representations of the Victorian poetess” (p. 17). The chapter emphasizes the Argosy’s poems as a product of the literary market and its identification with sensation (and thereby sentimental poetics), which placed a certain demand upon poetic form. Women poets, therefore, adopted the “feminine” style of sentiment and sensation—the “pose of the poetess...

• 维多利亚时代的女诗人
• 希瑟·博赞特·维格（生物学）

2019年关于女诗人的奖学金再次证明了期刊情境和档案材料的重要性。今年，许多学者揭示了需要进行的工作，以发展对女诗人，她们的诗歌以及她们从事诗歌创作和出版的复杂理解。除了对语境化的关注外，奖学金[End Page 390]还强调了维多利亚时代女性诗歌的多种形式，阐明了学科与时间界限之间的迷人联系。十九世纪末期的作家仍然保持着浓厚的兴趣，他们关注as废和生态问题，以此作为扩展维多利亚时代学术观念的一种手段。

2019年的奖学金再次显示了维多利亚时代研究中女性诗人的杰出地位。正如她介绍到维多利亚时代的女诗人最新编辑成册琳达K.休斯指出，剑桥维多利亚时代的女性诗歌（剑桥：剑桥大学出版社，2019年），从1990年代到今天的奖学金之间最大的区别是由于数字化而可获得女性诗歌（第1页）。对女性诗歌的这种前所未有的获取方式改变了我们对文学年鉴和期刊的态度：“一旦被视为短暂的文学垃圾，它们就成为妇女诗歌研究的重要场所，并成为妇女担任编辑，作家和读者的代理机构”（第1页）。 。数字化也增加了我们对女性诗歌创作的关注度（从更杰出的人物到晦涩而未被研究的诗人），以及诗歌在维多利亚时代的想象力中所占的重要地位。

今年的许多奖学金都强调期刊的突出地位是“重要的研究场所”（Hughes，第1页）。莎拉·安妮·斯托蒂（Sarah Anne Storti）对莱蒂蒂亚·兰登（Letitia Landon）的追忆，使这位诗人成为“媒体理论家和实践者”，令人振奋而富于创新，引起人们对兰登在19世纪初印刷媒体上的实验诗学的关注（第533页）。“ Letitia Landon：仍然是一个问题”（副总裁57号 4 [2019]：533–556）提供了关于Landon的作品在杂志和文学年刊上的出版历史的全新见解，揭示了她在印刷文化中的作用以及她不仅能够嵌入多种形式的媒体作为其诗学的标志，而且还具有丰富的诗意，还具有通过Storti所说的“回收文化”来开发和批判19世纪媒体生产的能力（第537页）。Storti用这种创新的手段来重制她自己发表的诗歌，这使Storti将Landon标记为“重用的缪斯”，并挑衅地暗示她的诗歌是依赖于出版物上下文的可回收对象。兰登（Landon）出版历史的这一开创性方面要求学者们重新审视这位诗人，而不是像她经常读到的那样，从传记的角度来看这位诗人，而是作为十九世纪的主要媒体理论家。

Caley Ehnes的《维多利亚诗歌与文学期刊的诗学》（爱丁堡：爱丁堡大学出版社，[End Page 391] 2019）不仅仅着眼于女性诗人，还探索了1860年代的文学期刊，以考察诗歌在文学中的作用。出版物的品牌。的确，埃内斯认为，文学期刊对诗人职业的中心地位表明，这些期刊对中产阶级读者和诗人自身而言既塑造了诗的形式，也塑造了诗歌的目的。为了将注意力集中在期刊及其诗歌上，该专着是根据不同的中产阶级出版物来组织的（周刊，先令月刊，宗教期刊以及轰动一时的杂志Argosy）），而不是一组作者。在女性诗人的背景下，Ehnes的一章康特是最重要的，因为它审视女性诗人如克里斯蒂娜罗塞蒂，伊萨克雷格，让格洛，和萨拉·威廉斯如何协商感伤的诗，以产生一个新的诗学的惯例，“这两个定义通过和反对维多利亚时代女诗人的传统表现形式”（第17页）。本章着重强调阿古斯的诗歌是文学市场的产物，以及其对情感的认同（以及由此产生的情感诗学），这对诗歌形式提出了一定的要求。因此，女诗人采用了“女性化”的情感和感觉风格，即“女诗人的姿势……