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From the Publisher"In this meticulously researched study of Wharton's novels and short stories, Orlando (Fairfield University) makes a convincing argument for the ways in which Wharton enacted, through her work, a 'cultural critique that transcends the literary arts.' Interweaving illustrations of 19th- and early-20th-century art and detailed close readings of Wharton's fiction, the author guides the reader through Wharton's critique of the pre-Raphaelite artists and their vexed representations of women. Thanks to Orlando's impressive knowledge of art history and of Wharton scholarship, this volume secures an understanding of Wharton's place as one of 'American literature's most gifted inter-textual realists.' Nor does Orlando sacrifice depth for breadth. So smart and commanding a reader is she that the study's multidisciplinary approach (art history, cultural history, women's studies, US literature, Victorian literature) only enhances its appeal. One leaves this book with a more thorough understanding of Wharton's engagement with the visual arts as well as deeper insight into her complex, often-misunderstood relationship to the representation of women and the emerging feminism of her day. A distinguished contribution to Wharton scholarship. Summing Up: Essential. Upper-division undergraduates through faculty."
"Professor Orlando is very skillful in showing how Wharton integrates the works of other artists (especially painters and poets) in creating characters and scenes in her own work. . . . She is the first to study Wharton’s work in the context of the history of museums and the role of women as curators and art historians.. . . Another strength of the book is the attention given to neglected stories, such as "The Potboiler," "The Rembrandt," and "The Temperate Zone," which are shown to be relevant to the major novels in ways that had not been demonstrated before."—Elsa Nettels, author of Language and Gender in American Fiction: Howells, James, Wharton, and Cather