Primarily an account of foreign travel and of nursing during the Crimean War ; includes criticism of Florence Nightingale.

Elizabeth Davis - known in Wales as Betsy Cadwaladyr - was a ladies' maid from Mayrionydd who travelled the world and gained fame as a nurse during the Crimean war. She broke free of the restrictions placed on women in Victorian times to lead a life of adventure. Journeying to many exotic parts of the globe, she came into contact with international events in the horrors of the filled hospital at Balaclava, where she served under Florence Nightingale. Williams interviewed the elderly Betsy and turned her reminiscences into this fascinating account of her life.

What does sound, whether preserved or lost, tell us about nineteenth-century wartime? Hearing the Crimean War: Wartime Sound and the Unmaking of Sense pursues this question through the many territories affected by the Crimean War, including Britain, France, Turkey, Russia, Italy, Poland, Latvia, Dagestan, Chechnya, and Crimea. Examining the experience of listeners and the politics of archiving sound, it reveals the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so. The volume explores the dynamics of sound both in violent encounters on the battlefield and in the experience of listeners far-removed from theaters of war, each essay interrogating the Crimean War's sonic archive in order to address a broad set of issues in musicology, ethnomusicology, literary studies, the history of the senses and sound studies.

Comprehensive guide to published Australian autobiographical writing which deals with life in Australia up to 1850. Entries are listed alphabetically by author's name. Includes three separate indexes to personal names, places and subjects. Walsh has worked on numerous Australian reference publications. Hooton teaches English at the Australian Defence Force Academy and is co-author of 'The Oxford Companion to Australian Literature' (1985); Walsh is assisting her in preparing a new edition.

Focusing particularly on the critical reception of Jane Austen, Charlotte Brontë and George Eliot, Joanne Wilkes offers in-depth examinations of reviews by eight female critics: Maria Jane Jewsbury, Sara Coleridge, Hannah Lawrance, Jane Williams, Julia Kavanagh, Anne Mozley, Margaret Oliphant and Mary Augusta Ward. What they wrote about women writers, and what their writings tell us about the critics' own sense of themselves as women writers, reveal the distinctive character of nineteenth-century women's contributions to literary history. Wilkes explores the different choices these critics, writing when women had to grapple with limiting assumptions about female intellectual capacities, made about how to disseminate their own writing. While several publishing in periodicals wrote anonymously, others published books, articles and reviews under their own names. Wilkes teases out the distinctiveness of nineteenth-century women's often ignored contributions to the critical reception of canonical women authors, and also devotes space to the pioneering efforts of Lawrance, Kavanagh and Williams to draw attention to the long tradition of female literary activity up to the nineteenth century. She draws on commentary by male critics of the period as well, to provide context for this important contribution to the recuperation of women's critical discourse in nineteenth-century Britain.