Here for the first time is a book devoted exclusively to the topic of women’s autobiography in nineteenth-century France. Tracing the rise of autobiography in relation to women’s domestic confinement, Kathleen Hart demonstrates how Flora Tristan, George Sand, and Louise Michel transformed the genre. Inspired by Romantic socialism, each of these remarkable autobiographers links the story of her personal development to socio-historic change. In the wake of the 1830 Revolution, Tristan chronicles social unrest as she relates her progressive transformation into humanity’s “Woman Guide” in Peregrinations of a Pariah (1838). Writing in the aftermath of the 1848 Revolution, Sand consolidates her role as a mediator between the rich and the poor in Story of My Life (1854). A legend of the 1871 Paris Commune, Michel establishes herself as the poet and prophet of a mythical Revolution yet to come in her Memoirs (1886). Exploring the dynamic interplay between revolution and feminist acts of self-affirmation, Revolution and Women’s Autobiography in Nineteenth-Century France will appeal to scholars of history, French culture, literature, and women’s studies.

This collection discusses British and Irish life writings by women in the period 1700-1850. It argues for the importance of women's life writing as part of the culture and practice of eighteenth-century and Romantic auto/biography, exploring the complex relationships between constructions of femininity, life writing forms and models of authorship.

Steve Shone’s Women of Liberty explores the many overlaps between ten radical, feminist, and anarchist thinkers: Tennie C. Claflin, Noe Itō, Louise Michel, Rose Pesotta, Margaret Sanger, Elizabeth Cady Stanton, Mollie Steimer, Lois Waisbrooker, Mercy Otis Warren, and Victoria C. Woodhull.

In 1826 Angela Veronese, a gardener’s daughter, wrote and published the first modern autobiography by an Italian woman. Veronese’s account focuses on her unique experience as a peasant girl who came of age among the Venetian elite, and details how she attained a certain renown in and out of Italy by improvising, writing, and publishing her own lyrics. Courting Celebrity is a bilingual annotated edition of Veronese’s autobiography. To better elucidate Veronese’s thinking, the book includes the autobiographical writing of another contemporary Italian poet, Teresa Bandettini, a well-known Tuscan poet-improviser. The book offers a substantial sample of Veronese’s poems, translated and in the original. These compositions, together with detailed bibliographical documentation, point to the success of Veronese’s autobiographical enterprise and offer an unparalleled view of both high society and popular culture at the time. Courting Celebrity illustrates women’s practice in two key literary genres, poetry and autobiography, and illuminates the strategies of women’s self-fashioning and pursuit of celebrity.

Traveling to Unknown Places presents a compelling, incisive analysis of how French and American writers reshaped their personal and collective identities as they traveled in foreign countries after the social upheavals of the eighteenth-century Atlantic revolutions. Delving into the experiences of renowned figures like Flora Tristan and Margaret Fuller alongside lesser-known postrevolutionary travelers, this book illuminates how cross-cultural encounters pushed writers to redefine their views of nationality, language, race, slavery, gender, religion, science, and political ideologies. Lloyd Kramer deftly demonstrates how unsettling journeys challenged cultural preconceptions and fostered introspective writings that transcended geographical boundaries. By interweaving the perspectives of women and men whose travels led them far beyond their youthful social origins, Kramer unveils a rich tapestry of evolving selfhood, ambition, and political consciousness across the Atlantic world. Each traveler's experience was unique, but long journeys connected all these nineteenth-century writers with others who had traveled before; and trips into unknown, distant cultures also carried travelers toward previously unknown places within themselves.

In the Footsteps of Flora Tristan is the first ever study devoted to Jules Puech (1879–1957), and is a double biography that examines his life’s work on Flora Tristan (1803–1844), feminist and socialist. It begins by examining newly found press reports of Flora Tristan during her lifetime and subsequently, then positions Puech’s discovery of her, as a postgraduate student in Paris in the 1900s. It continues with an account of how he embarked on the first in-depth biography published in 1925. Puech was unmatched in his expertise as a writer on Flora Tristan having discovered her papers through his numerous political connections and having become a historian of Proudhon’s legacy on the international aspirations of the labour movement. Together with his wife Marie-Louise Puech, née Milhau (1876-1966), suffragist feminist, he was a militant in the early twentieth-century pacifist movement that advocated international arbitration. His research on Flora Tristan was enriched by his other projects but was thwarted by the wars of 1914–1918 and 1940–1945. The circumstances of the long gestation of Puech's biography are drawn from his letters and papers, hitherto unseen. The correspondence curated brings a new understanding to the multi-faceted nature of Puech’s activism and rate of progress in the publication of his findings on his subject, Flora Tristan.

Collecting more than 200 sources in the global history of feminism, this anthology supplies an insightful record of the resistance to patriarchy throughout human history and around the world. From writings by Enheduana in ancient Mesopotamia (2350 BCE) to the present-day manifesto of the Association of Women for Action and Research in Singapore, Feminist Writings from Ancient Times to the Modern World: A Global Sourcebook and History excerpts more than 200 feminist primary source documents from Africa to the Americas to Australia. Serving to depict "feminism" as much broader—and older—than simply the modern struggle for political rights and equality, this two-volume work provides a more comprehensive and varied record of women's resistance cross-culturally and throughout history. The author's goal is to showcase a wide range of writers, thinkers, and organizations in order to document how resistance to patriarchy has been at the center of social, political, and intellectual history since the infancy of human civilization. This work addresses feminist ideas expressed privately through poetry, letters, and autobiographies, as well as the public and political aspects of women's rights movements.

'Wall to Wall: Law as Culture in Latin America and Spain' comprises interventions from a wide array of scholars based in the US, Spain, and Latin America, exploring the encounter of Hispanophone cultures and the law. Its contributors delineate a fraught relationship of complicity, negotiation, and outright confrontation covering five centuries and a truly global landscape, from Inquisitorial processes at the onset of the Spanish Empire to last-ditch plans to preserve it in the 19th century Philippines, to the challenges to contemporary articulations of the nation-state in Catalonia. Beyond single, specialized time-period and national cultures, 'Wall to Wall' embraces and showcases the heterogeneity of the field, covering both well-known territory (Argentina, Mexico, Spain) and often-neglected cultures (Venezuela, Philippines, and indigenous communities in the Yucatan area), as well as problems that cannot be narrowed down to the nation-state (exile, independence processes, non-state laws, translation of foreign cultures). Contributors include: Aurélie Vialette, Daniel Aguirre-Oteiza, Daniela Dorfman, María Fernanda Lander, Gloria Elizabeth Chacón, Iván Trujillo, Benjamin Easton, Pauline de Tholozany, Lauren G.J. Reynolds, Ignasi Gozalo-Salellas, and Gabriela Balcarce. The chapters included foreground the conceptual diversity of the field, in dialogue with issues in literary and visual culture, (post-)colonialism, race, nationalism, gender, and class. Not only do they place vernacular objects in dialogue with current international concepts and methods, but these essays also aim to advance an autonomous conceptual and theoretical work-based approach. Its chapters aspire to enter a global discussion around the state-centered aspiration to shape culture and the many literary and cultural practices that escape it; researchers of those issues and Latin American and Iberian studies will find new venues to rethink their global archive.

In the nineteenth century, the reading public expanded to embrace new categories of consumers, especially of cheap fiction. These new lower-class and female readers frightened liberals, Catholics and republicans alike. The study focuses on workers, women and peasants, and the ways in which their reading was constructed as a social and political problem, to analyse the fear of reading in nineteenth century France. The author presents a series of case-studies of actual readers, to examine their choices and their practices, and to evaluate how far they responded to (or subverted) attempts at cultural domination.

Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women’s reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the “vanished” writings of heretofore unrecognized or underrecognized women art critics, the authors hope to contribute to the ongoing revision of women’s role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.