How Eighteenth-Century Women Fended-Off Sexual Violence by Writing and Talking: A Study of Four British Novels by Delarivier Manley, Jane Barker, Eliza Haywood, and Samuel Richardson by Jan M. Stahl

2017 ◽  
Vol 49 (2) ◽  
pp. 71-72
Author(s):  
Jennifer L. Airey
Author(s):  
Andrew O. Winckles

Eighteenth-Century Women’s Writing and the Methodist Media Revolution argues that Methodism in the eighteenth century was a media event that uniquely combined and utilized different types of media to reach a vast and diverse audience. Specifically, it traces specific cases of how evangelical and Methodist discourse practices interacted with major cultural and literary events during the long eighteenth-century, from the rise of the novel to the Revolution controversy of the 1790’s to the shifting ground for women writers leading up to the Reform era in the 1830’s. The book maps the religious discourse patterns of Methodism onto works by authors like Samuel Richardson, Mary Wollstonecraft, Hannah More, Elizabeth Hamilton, Mary Tighe, and Felicia Hemans. This not only provides a better sense of the religious nuances of these authors’ better-known works, but also provides a fuller consideration of the wide variety of genres women were writing in during the period, many of which continue to be read as ‘non-literary’. The scope of the book leads the reader from the establishment of evangelical forms of discourse in the 1730’s to the natural ends of these discourse structures during the era of reform, all the while pointing to ways in which women—Methodist and otherwise—modified these discourse patterns as acts of resistance or subversion.


Unfelt ◽  
2020 ◽  
pp. 24-68
Author(s):  
James Noggle

This chapter examines how the late seventeenth-century British philosophy of sensation, feeling, and selfhood responded to the challenges of mechanism with the idiom of the insensible. It shows how this idiom carries forward from John Locke and Robert Boyle to philosophers of the mid-eighteenth century, the age of sensibility, who use it to address a variety of problems. The consistent, Lockean element in these usages by David Hartley, Étienne Bonnet de Condillac and David Hume, Eliza Haywood and Adam Smith, is that they do not refer to mental contents. One does not hear of “insensible perceptions.” There are no “unconscious thoughts” or “unfelt sensations” in the British tradition surveyed here. Writers in this tradition rather describe insensible powers that affect the mind without themselves being mental. They are nonconscious, not unconscious. This is an implication carried by the idiom into articulations of quite a wide variety of other ideas. All of them indicate the persistent usefulness in philosophies of feeling of a stylistic gesture toward something beyond the reach of both feeling and philosophy.


Author(s):  
Alex Eric Hernandez

This chapter examines the uses and meanings of prose in tragedy during the eighteenth century. It offers a close, comparative reading of Aaron Hill’s The Fatal Extravagance (1721) and Edward Moore’s The Gamester (1753), and places the developing conventions of bourgeois tragedy in conversation with the insights of Samuel Richardson, Denis Diderot, Jean-Baptiste Greuze, and the actors called upon to embody its emotion. In doing so, this chapter argues that prosaic suffering performed its grief under an illusion of immediacy, in ways that were absorptive rather than theatrical, and provocatively disenchanted in their implications. Hence, bourgeois drama’s “natural picture” adapted the novel’s “writing to the moment” and embodied emotional practices characterized by quotidian concerns and an ambivalence about middle-rank life.


Author(s):  
Claudine van Hensbergen

Taking as its focus the satirical play The Female Wits: or, the Triumvirate of Poets at Rehearsal (1696) this chapter reconstructs the satirical milieu around female dramatists at the turn of the eighteenth century. The leading playwright Susannah Centlivre repeatedly claimed that female dramatists only found success where they obscured their gender, with discriminatory attitudes laying them open to ‘the carping Malice of the Vulgar World’. This chapter explores the extent to which this was true, examining whether we should read The Female Wits as a misogynistic silencing of women playwrights, or rather as a work that speaks to their commercial popularity. By contextualizing this analysis through the writings of Centlivre and her contemporaries Delarivier Manley, Mary Pix, and Catharine Trotter, as well as considering their treatment in the stage reform debates, the chapter argues that scholars may have overestimated the power of satire to curtail the careers of female dramatists.


Author(s):  
Caitlin L. Kelly

How we talk about misogyny and sexual violence in literary texts matters—to our students, to our colleagues, and to the future of the humanities and of higher education—and the “Me Too” movement has revived with new urgency debates about how to do that. In this essay, I explore the ethical implications of invoking the “Me Too” movement in the classroom, and I offer a model for designing a course that does not simply present women’s narratives as objects of study but rather uses those narratives to give students opportunities and tools to participate in the “Me Too” movement themselves. To re-think eighteenth-century women’s writing in light of “Me Too,” I contend, is to participate in the movement, and so in our teaching we must engage with the ethics of the movement as well as the subject matter.


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