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• Title: Canonicity, Marginality, And the Celebration of the Minor (In Victorian Poetry)
• Author : Victorian Poetry
• Release Date : January 22, 2003
• Genre: Language Arts & Disciplines,Books,Professional & Technical,Education,
• Pages : * pages
• Size : 180 KB

Description

Victorian poetry as a field tends to be among those subdisciplines least affected by theoretical and historical developments in literary study. In the eighties and early nineties, our field was certainly changed by demands to "open up" the canon. (1) Particularly with women poets, these investigations had an effect; any roster of poets from the nineteenth century now includes Felicia Hemans, Letitia Elizabeth Landon, and Michael Field--both in pedagogical anthologies like the Longman, Norton, and the Broadview, and in scholarly attention. At the same time, for all the talk about opening up the canon, the canon has shifted rather than expanded; certain authors on the edges (say, Patmore and the poets of the nineties) have been quietly or nearly dropped to include new objects of study. In addition, the scholarly canon has changed far less than it could have; scholars are not necessarily writing about newly rediscovered work as about works familiar to them. In the last decade and a half there was an explosion of articles on Christina Rossetti's Goblin Market, which was hardly in danger of being ignored. My point here is to talk about what we do beyond the easy assumptions of our own effects. We have added women poets to our classes' reading lists (other categories of marginalization, like those of race, are not so easy to find in Victorian poetry). But that may be all we have done. The binary division into "marginalized" and "canonical" may not be very easy. John Guillory has most famously examined how complex the relationships are among canonicity, class, and cultural access, and the effects of his groundbreaking work have yet to be felt throughout our field. For Guillory, the project of reflecting upon the canon involves much more than "opening" it up to once-excluded or "marginal" authors; he investigates the ways in which a particular work might gain "cultural capital" through an interplay among what it means, what it embodies, how it is produced, and how it is received in an historical moment. (2)

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