This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.

An architectural monthly.

There are many books of many kinds and this volume properly classified would probably belong to the "sui generis," "sic trasit gloria mundi" variety. If the reader has grown a little rusty on classic Latin I do not mind saying to him further that the latter phrase has been sometimes translated, "My glorious old aunt has been sick ever since Monday," but I do not think that this revised version has been generally accepted as strictly orthodox. This book cannot be said to have been written without rhyme or reason for its pages hold more rhyme than poetry and three reasons at least, have conspired to give it literary existence. A hundred years and more from now it may be that some far descendant of the author, while fingering the musty shelves of some old library, may find some modest satisfaction in the thought that his ancient sire had "writ" a book.

(Revised and updated edition) A classic tool revised for a new generation of pastors and students of the Bible, A. T. Robertson's Word Pictures in the New Testament identifies connotations and pictorial nuances often lost in the translation of New Testament words. This widely referenced, classic tool features a new page header system, true Greek, updated translations, Americanized spellings, improved footnotes, and Arabic numbers.

Why were so many religious images and objects broken and damaged in the course of the Reformation? Margaret Aston's magisterial new book charts the conflicting imperatives of destruction and rebuilding throughout the English Reformation from the desecration of images, rails and screens to bells, organs and stained glass windows. She explores the motivations of those who smashed images of the crucifixion in stained glass windows and who pulled down crosses and defaced symbols of the Trinity. She shows that destruction was part of a methodology of religious revolution designed to change people as well as places and to forge in the long term new generations of new believers. Beyond blanked walls and whited windows were beliefs and minds impregnated by new modes of religious learning. Idol-breaking with its emphasis on the treacheries of images fundamentally transformed not only Anglican ways of worship but also of seeing, hearing and remembering.