Redemption and Representation in <i>Goblin Market</i>: Christina Rossetti and the Salvific Signifier

Redemption and Representation in Goblin Market: Christina Rossetti and the Salvific Signifier Redemption and Repre sen ta tion in Goblin Market: Christina Rossetti and the Salvic S fi ignie fi r VICTORIA COULSON ritical pieties die hard on the well- trodden slopes of Christina Rossetti’s C“mossy glen” (l. 87). “[T] here is no market in Goblin Market,” Simon Humphries pointed out in 2007, an observation that has gone stubbornly un- noticed, or unpro cessed, in subsequent scholarship on the poem. Rather than reconsidering the now venerable tradition of market- oriented readings of Ros- setti’s text— a tradition whose founding moment we may locate in the early 1990s, when scholars such as Elizabeth Campbell, Terence Holt, Elizabeth K. Helsinger, and Richard Menke proposed their inu fl ential accounts of the poem as a more or less radical critique of commodity capitalism: in Herbert Tucker’s catchy formula, “put[ing] the market back in Goblin Market”— recent critics have ignored this exceptionally clear- sighted, and disruptive, ele ment in Humphries’s analys is. In an article published in 2010, Jill Rappoport signals that it is business as usual in the critical agora with her description of how, “[i]n critical readings of Christina Rossetti’s most popu lar poem, the titular and titillating market has increasingly taken center stage http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Victorian Poetry West Virginia University Press

Redemption and Representation in <i>Goblin Market</i>: Christina Rossetti and the Salvific Signifier

Victorian Poetry, Volume 55 (4) – Apr 18, 2018

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Publisher
West Virginia University Press
Copyright
Copyright © 2008 West Virginia University.
ISSN
1530-7190

Abstract

Redemption and Repre sen ta tion in Goblin Market: Christina Rossetti and the Salvic S fi ignie fi r VICTORIA COULSON ritical pieties die hard on the well- trodden slopes of Christina Rossetti’s C“mossy glen” (l. 87). “[T] here is no market in Goblin Market,” Simon Humphries pointed out in 2007, an observation that has gone stubbornly un- noticed, or unpro cessed, in subsequent scholarship on the poem. Rather than reconsidering the now venerable tradition of market- oriented readings of Ros- setti’s text— a tradition whose founding moment we may locate in the early 1990s, when scholars such as Elizabeth Campbell, Terence Holt, Elizabeth K. Helsinger, and Richard Menke proposed their inu fl ential accounts of the poem as a more or less radical critique of commodity capitalism: in Herbert Tucker’s catchy formula, “put[ing] the market back in Goblin Market”— recent critics have ignored this exceptionally clear- sighted, and disruptive, ele ment in Humphries’s analys is. In an article published in 2010, Jill Rappoport signals that it is business as usual in the critical agora with her description of how, “[i]n critical readings of Christina Rossetti’s most popu lar poem, the titular and titillating market has increasingly taken center stage

Journal

Victorian PoetryWest Virginia University Press

Published: Apr 18, 2018

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