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y separately published work icon A Yellow Aster single work   novel  
Issue Details: First known date: 1894... 1894 A Yellow Aster
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Notes

  • Written while author was resident in Australia.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Notes:
Other imprints include: US - NY: Appleton, 1894; German (text in English) - Leipzig: Tauchnitz, 1894;
    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,      :       Hutchinson ,       1894 .
      Extent: 3 vols.p.
    • New York (City), New York (State),
      c
      United States of America (USA),
      c
      Americas,      :       Appleton ,       1894 .
      Extent: 307p.
VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Works about this Work

Garment No. 5 : The New Woman Novel and the First Maternity Clothes K. Irene Rieger , 2014 single work criticism
— Appears in: CEA Critic , November vol. 76 no. 3 2014; (p. 259-266) 'The tea gown (or, alternatively, tea-gown, tea dress, or robe d’interieur) first appeared in 1877 (Cunnington 283) and peaked in popularity in the 1890s and 1900s. The major difference between a tea gown and a regular dress was its loose fit and the fact that it did not require a corset: the bodice (the fitted portion of the gown which extends from shoulder to waist) itself might be lightly boned, and it might either have an empire waist (cinched in directly beneath the bust, thus fitting loosely over the stomach), a princess waist (having no waist seam at all, but long darts instead), or a loose belt. Because of this lack of undergarments, it was generally not worn in public or by unmarried women. According to Patricia A. Cunningham, the tea gown constituted “the upper end of th[e] class of comfortable ‘at home’ clothing” (7). The tea gown was either derived from artistic dress or from the peignoir, a sort of fancy dressing gown; there is some discussion on this topic among fashion historians.' (Introduction)
Cosmos Magazine and Colonial Femininity Rachael Weaver , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 1 2012; 'This article looks at the relatively short and colourful life of Sydney's Cosmos: An Illustrated Australian Magazine—one of the many ephemeral literary magazines that flourished briefly during the colonial era in Australia, and which have been largely forgotten today. From its beginning in September 1894, Cosmos published poetry, short fiction, book reviews, and literary criticism, aiming to offer readers something 'that was purely Australian' as well as providing an important venue for the writings of popular colonial authors such as Louise Mack, Edward Dyson, Ernest Favenc, and many others. This article argues the Cosmos magazine was deeply invested in the development of a distinctively Australian literary culture and that an important focus for accomplishing this was its exploration of metropolitan modes of colonial femininity.'
'A Yellow Aster' : The Author at Home Percy L. Parker , 1894 single work column
— Appears in: The Woman's Signal , 8 March no. 10 1894; (p. 52-3)
'A Yellow Aster' : The Author at Home Percy L. Parker , 1894 single work column
— Appears in: The Woman's Signal , 8 March no. 10 1894; (p. 52-3)
Cosmos Magazine and Colonial Femininity Rachael Weaver , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 1 2012; 'This article looks at the relatively short and colourful life of Sydney's Cosmos: An Illustrated Australian Magazine—one of the many ephemeral literary magazines that flourished briefly during the colonial era in Australia, and which have been largely forgotten today. From its beginning in September 1894, Cosmos published poetry, short fiction, book reviews, and literary criticism, aiming to offer readers something 'that was purely Australian' as well as providing an important venue for the writings of popular colonial authors such as Louise Mack, Edward Dyson, Ernest Favenc, and many others. This article argues the Cosmos magazine was deeply invested in the development of a distinctively Australian literary culture and that an important focus for accomplishing this was its exploration of metropolitan modes of colonial femininity.'
Garment No. 5 : The New Woman Novel and the First Maternity Clothes K. Irene Rieger , 2014 single work criticism
— Appears in: CEA Critic , November vol. 76 no. 3 2014; (p. 259-266) 'The tea gown (or, alternatively, tea-gown, tea dress, or robe d’interieur) first appeared in 1877 (Cunnington 283) and peaked in popularity in the 1890s and 1900s. The major difference between a tea gown and a regular dress was its loose fit and the fact that it did not require a corset: the bodice (the fitted portion of the gown which extends from shoulder to waist) itself might be lightly boned, and it might either have an empire waist (cinched in directly beneath the bust, thus fitting loosely over the stomach), a princess waist (having no waist seam at all, but long darts instead), or a loose belt. Because of this lack of undergarments, it was generally not worn in public or by unmarried women. According to Patricia A. Cunningham, the tea gown constituted “the upper end of th[e] class of comfortable ‘at home’ clothing” (7). The tea gown was either derived from artistic dress or from the peignoir, a sort of fancy dressing gown; there is some discussion on this topic among fashion historians.' (Introduction)
VIEW ALL WORKS ABOUT (3)
Last amended 2 May 2017 12:51:15
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