Rickie-Ann Legleitner is assistant professor of English and director of women’s, gender, and sexuality studies at the University of Wisconsin, Stout.

• Chapter One: Individuality and the Embodiment of Inequality in E.D.E.N. Southworth’s The Deserted WifeChapter Two: Disabling Marriage and the Woman Artist in Elizabeth Stuart Phelps’s The Story of AvisChapter Three: Embracing Fate: Artistry and Autonomy in Kate Chopin’s The AwakeningChapter Four: ‘That sensuous form’: Corporeal Artistic Creation in Willa Cather’s The Song of the LarkChapter Five: The Body at Play: Artistic Passing in Jessie Fauset’s Plum BunChapter Six: The Cult of Artistry in Zelda Fitzgerald’s Save me the Waltz

In Women Writing the American Artist in Novels of Development from 1850-1932: The Artist Embodied, Rickie-Ann Legleitner makes a substantial contribution to the scholarship on the female artist novel of development through compelling analyses of patriarchal America’s resistance to recognizing women artists as creators of high art. In five Künstleromane published between 1850 and 1932, Legleitner focuses on how her selected women writers reconfigure accepted domestic and sentimental themes into declarations of female individualism and autonomy that establish the female body’s generative capabilities not only for corporeal reproduction but for liberating cultural production. Complicating the analyses through tropes of race, ethnicity, class and ability, the study examines the female fictional artists negotiating private and public spaces, the home and the marketplace, much as the women writers who created them did.

Rickie-Ann Legleitner is assistant professor of English and director of women’s, gender, and sexuality studies at the University of Wisconsin, Stout.

• Chapter One: Individuality and the Embodiment of Inequality in E.D.E.N. Southworth’s The Deserted WifeChapter Two: Disabling Marriage and the Woman Artist in Elizabeth Stuart Phelps’s The Story of AvisChapter Three: Embracing Fate: Artistry and Autonomy in Kate Chopin’s The AwakeningChapter Four: ‘That sensuous form’: Corporeal Artistic Creation in Willa Cather’s The Song of the LarkChapter Five: The Body at Play: Artistic Passing in Jessie Fauset’s Plum BunChapter Six: The Cult of Artistry in Zelda Fitzgerald’s Save me the Waltz

In Women Writing the American Artist in Novels of Development from 1850-1932: The Artist Embodied, Rickie-Ann Legleitner makes a substantial contribution to the scholarship on the female artist novel of development through compelling analyses of patriarchal America’s resistance to recognizing women artists as creators of high art. In five Künstleromane published between 1850 and 1932, Legleitner focuses on how her selected women writers reconfigure accepted domestic and sentimental themes into declarations of female individualism and autonomy that establish the female body’s generative capabilities not only for corporeal reproduction but for liberating cultural production. Complicating the analyses through tropes of race, ethnicity, class and ability, the study examines the female fictional artists negotiating private and public spaces, the home and the marketplace, much as the women writers who created them did.

Rickie-Ann Legleitner is assistant professor of English and director of women’s, gender, and sexuality studies at the University of Wisconsin, Stout.

• Chapter One: Individuality and the Embodiment of Inequality in E.D.E.N. Southworth’s The Deserted WifeChapter Two: Disabling Marriage and the Woman Artist in Elizabeth Stuart Phelps’s The Story of AvisChapter Three: Embracing Fate: Artistry and Autonomy in Kate Chopin’s The AwakeningChapter Four: ‘That sensuous form’: Corporeal Artistic Creation in Willa Cather’s The Song of the LarkChapter Five: The Body at Play: Artistic Passing in Jessie Fauset’s Plum BunChapter Six: The Cult of Artistry in Zelda Fitzgerald’s Save me the Waltz

In Women Writing the American Artist in Novels of Development from 1850-1932: The Artist Embodied, Rickie-Ann Legleitner makes a substantial contribution to the scholarship on the female artist novel of development through compelling analyses of patriarchal America’s resistance to recognizing women artists as creators of high art. In five Künstleromane published between 1850 and 1932, Legleitner focuses on how her selected women writers reconfigure accepted domestic and sentimental themes into declarations of female individualism and autonomy that establish the female body’s generative capabilities not only for corporeal reproduction but for liberating cultural production. Complicating the analyses through tropes of race, ethnicity, class and ability, the study examines the female fictional artists negotiating private and public spaces, the home and the marketplace, much as the women writers who created them did.