Bücher der Reihe Transits: Literature, Thought & Culture 1650-1850

Reading 1759 investigates the literary culture of a remarkable year in British and French writing, and ideas. Examining key works by Johnson, Voltaire, Sterne, Adam Smith, Sarah Fielding, and Christopher Smart, the volume presents a wide-ranging account of the year's work in literature and the key issues that preoccupied writers at this time.

Sovereign Power and the Enlightenment examines the role of the novelists and historians of the eighteenth century in developing a vision of political modernity that questions traditional narratives about the rise of liberalism and the decline of sovereign power. It provides a new way to link the literature and philosophy of the eighteenth century with the meditations on violence and sovereignty that have preoccupied much of the political philosophy of the first years of the twenty first century. Focusing on the novelists Daniel Defoe, Samuel Richardson, and Ann Radcliffe, and on the historians David Hume and Edward Gibbon, DeGabriele shows how these authors use the resources of their respective genres to expose the persistence of sovereign violence and to outline a type of political subject who could resist the violence more effectively than the individual beloved of modern liberalism.

John Locke asked, ';since all things that exist are merely particulars, how come we by general terms?' Essential Scots and the Idea of Unionism in Anglo-Scottish Literature, 16031832 tells a story about aesthetics and politics that looks back to the 1603 Union of Crowns and James VI/I's emigration from Edinburgh to London. Considering the emergence of British unionism alongside the literary rise of both description and ';the individual,' Rivka Swenson builds on extant scholarship with original close readings that illuminate the inheritances of 1603, a date of considerable but untraced importance in Anglo-Scottish literary and cultural history whose legacies are still being negotiated today. The 1603 Union of Crowns spurred interest in exploring the aesthetic politics of unionism in relation to an alleged Scottish essence that could be manipulated to resist or support ';Britishness,' even as the king's emigration generated a legacy of gendered representations of traveling Scots and ';Scotlands-left-behind.' Discussing writers such as Bacon, Defoe, Smollett, Johnson, Macpherson, Ferrier, and Scott along with lesser-known or forgotten popular authors (and ballads, transparencies, newspapers, joke books, cant dictionaries, political speeches, histories, travel narratives, engravings, material artifacts such as medals and snuffboxes), Essential Scots describes the years 1603 to 1832 as a crucial period in British history. Paradoxically, the political and cultural exploration of ideas about ';unionism' in relation to a supposed ';essential Scottishness' participated in the increasing prominence of both description and the ';individual' in nineteenth-century Scottish literature; Swenson persuasively concludes that essential Scottishness (as both ';identity' and symbolism) was refigured to mediate a national synthesis between the emergent individual and the nascent British nationas well as the naturalized, even de-politicized, literary synthesis of particulars within putatively analogous narrative wholes.

This book traces the development of modern ideas of masculinity and the political subject back to the Enlightenment period in Britain to show how the very concept of political agency was shaped by anti-effeminate ideas and beliefs. This study queers our understanding of the political subject, which is still the basis for debate and argument.

The book reviews the varied cultural accomplishments during the reign of Queen Anne (1702-1714), including scholarly essays on Anne, her patronage of the arts, coin collecting, poetry, poetical miscellanies, drama, hymns, music, and architecture.

Stage Mothers expands the discussion of eighteenth-century women's social and dramatic roles by demonstrating the complicated, contradictory, and celebratory faces of maternity on stage and on the page. This collection examines and extends recent debates in women's history, theater history, and eighteenth-century literature and drama.

Drawing on philosophical thought from the eighteenth century as well as conceptual frameworks developed in the twenty-first century, the essays in Beyond Sense and Sensibility examine moral formation as represented in or implicitly produced by literary works of late eighteenth-century British authors.

Anna Letitia Barbauld: New Perspectives, the first collection of essays on the work of this major British writer, is the indispensable volume for everyone who wants an introduction to Barbauld and to the most current thinking about her. The book will be essential reading for academic students of English literature, 1740 to 1840, and will also attract non-specialists who care about the history of writing by women.

Bringing together work by distinguished and younger scholars, Eighteenth-Century Poetry and the Rise of the Novel Reconsidered takes seriously the connections between poetry and novels in the period between Andrew Marvell's Upon Appleton House and Amelia Opie's Romanic-era novels.

In Making Love: Sentiment and Sexuality in Eighteenth-Century British Literature, Paul Kelleher revises the history of sexuality from the vantage point of the literary history of sentimentalism. Kelleher demonstrates how eighteenth-century British philosophers, essayists, and novelists fundamentally reconceived the relations among sentiment, sexuality, and moral virtue. It is his contention that sentimental discourse, both philosophical and literary, posited heterosexual desire as the precondition of moral feeling and conduct. The author further suggests that sentimental writers fashioned the ideal of conjugal love as an ideological antidote to the theories of self-love and self-interest found in the works of Thomas Hobbes and Bernard Mandeville. Heterosexual desire and its culmination in conjugal love, in other words, were represented as the privileged means for an individual to transcend self-love and to develop a moral sensibility attuned to the thoughts and feelings of others. At the same time, Kelleher suggests, other pleasures and desiresparticularly those rooted in same-sex eroticismwere increasingly depicted as antithetical to conjugal love and, thus, were morally devalued and socially disenfranchised. Kellehers argument unfolds through close readings of a variety of texts, including Shaftesbury's Characteristics of Men, Manners, Opinions, Times, Joseph Addison and Richard Steele's the Tatler and the Spectator, Eliza Haywood's Love in Excess, Samuel Richardson's Pamela, and Henry Fielding's Tom Jones. Although these texts embody diverse rhetorical strategies and thematic concerns, he shows how they collectively reinforce an overarching sentimental ideology: on the one hand, heterosexual desire and conjugal love become synonymous with sympathy, benevolence, and moral goodness, while on the other hand, same-sex desire is pathologized as a selfish withdrawal from procreation, domesticity, sociability, and ultimately, ';humanity' itself.

Reading 1759 investigates the literary culture of a remarkable year in British and French writing, and ideas. Examining key works by Johnson, Voltaire, Sterne, Adam Smith, Sarah Fielding, and Christopher Smart, the volume presents a wide-ranging account of the year's work in literature and the key issues that preoccupied writers at this time.

Rococo Fiction in France reconfigures the history of the ';long eighteenth century' by revealing the rococo as a literary phenomenon that characterized a range of experimental texts from the end of the French Renaissance to the eve of the French Revolution. Tracing the literary rococo's evolution from the late 1500s to the early 1700s, and exploring its radicalization during the 1670s, 80s, and 90s, Allison Stedman unearths the seventeenth century rococo's counter-vision for the trajectory of the French monarchy and the dawn of the French Enlightenment. The first part of the study investigates the relationship between Montaigne's philosophy of literary production and those of early seventeenth century ';table-talk' novelists, libertine writers, and playwrights involved in the quarrel over Corneille's play Le Cid. She thus establishes the existence of a rococo philosophy of literary production whose goal was to innovate, to bring pleasure, and to create communities. The second part of the study explores the impact that the Duchess de Montpensier's literary portrait galleries, Jean Donneau de Vise's periodical the Mercure Galant, and other forms of rococo literary production by such authors as Charles Sorel, Alcide de Saint-Maurice, J.N. de Parvial and Jean de Prechac had in the creation of a textually mediated social sphere that served as the foundation of the publicly critical culture of the French Enlightenment. The study concludes with an investigation of the influx of salon sociability into the textually mediated social sphere during the 1690s. Stedman examines the role of interpolated literary fairy tales, proverb plays and other rococo publication strategies in such late seventeenth-century women writers as d'Aulnoy, Lheritier, Murat, and Durand in transfiguring the salon from an exclusive social circle mediated by physical presence to an inclusive social diaspora mediated by texts. Rococo Fiction in France challenges established views of early modern French literary history and discusses a range of little known works in a generous and engaging manner.

Sensibility, or the capacity to feel, played a vital role in philosophical reflection about the natural sciences, the social sciences, and the arts in eighteenth-century France. Yet scholars have privileged the Marquis de Sade's vindication of physiological sensibility as the logical conclusion of Enlightenment over Germaine de Stal's exploration of moral sensibility's potential for reform and renewal that paved the way for Romanticism. This volume of essays showcases Stal's contribution to the ';affective revolution' in Europe, investigating the personal and political circumstances that informed her theory of the passions and the social and aesthetic innovations to which it gave rise. Contributors move seamlessly between her political, philosophical, and fictional works, attentive to the relationship between emotion and cognition and aware of the coherence of her thought on an individual, national, and international scale. They first examine the significance Stal attributed to pity, happiness, melancholy, and enthusiasm in The Influence of the Passions as she witnessed revolutionary strife and envisioned the new republic. They then explore her development of a cosmopolitan aesthetic, in such works as On Literature, Corinne, or Italy, On Germany, and The Spirit of Translation, that transcended traditional generic, national, and linguistic boundaries. Finally, they turn to her contributions to the visual and musical arts as she deftly negotiated the transition from a Neoclassical to a Romantic aesthetic. Stal's Philosophy of the Passions concludes that, rather than founding a republic based on the rights of man, Stal's reflection fostered international communities of women (artists, models, and collectors; authors, performers, and spectators), enabling them to participate in the re-articulation of sociocultural values in the wake of the French Revolution.Contributors: Tili Boon Cuille, Catherine Dubeau, Nanette Le Coat, Christine Dunn Henderson, Karen de Bruin, M. Ione Crummy, Jennifer Law-Sullivan, Lauren Fortner Ravalico, C. C. Wharram, Kari Lokke, Susan Tenenbaum, Mary D. Sheriff, Heather Belnap Jensen, Fabienne Moore, Julia Effertz

This study examines how debates about history during the French Revolution informed and changed the nature of the British novel between 1790 and 1814. During these years, intersections between history, political ideology, and fiction, as well as the various meanings of the term ';history' itself, were multiple and far reaching. Morgan Rooney elucidates these subtleties clearly and convincingly. While political writers of the 1790s Burke, Price, Mackintosh, Paine, Godwin, Wollstonecraft, and others debate the historical meaning of the Glorious Revolution as a prelude to broader ideological arguments about the significance of the past for the present and future, novelists engage with this discourse by representing moments of the past or otherwise vying to enlist the authority of history to further a reformist or loyalist agenda. Anti-Jacobin novelists such as Charles Walker, Robert Bisset, and Jane West draw on Burkean historical discourse to characterize the reform movement as ignorant of the complex operations of historical accretion. For their part, reform-minded novelists such as Charlotte Smith, William Godwin, and Maria Edgeworth travesty Burke's tropes and arguments so as to undermine and then redefine the category of history. As the Revolution crisis recedes, new novel forms such as Edgeworth's regional novel, Lady Morgan's national tale, and Jane Porter's early historical fiction emerge, but historical representationlargely the legacy of the 1790s' novelremains an increasingly pronounced feature of the genre. Whereas the representation of history in the novel, Rooney argues, is initially used strategically by novelists involved in the Revolution debate, it is appropriated in the early nineteenth century by authors such as Edgeworth, Morgan, and Porter for other, often related ideological purposes before ultimately developing into a stable, non-partisan, aestheticized feature of the form as practised by Walter Scott. The French Revolution Debate and the British Novel, 17901814 demonstrates that the transformation of the novel at this fascinating juncture of British political and literary history contributes to the emergence of the historical novel as it was first realized in Scott's Waverley (1814).

In Poetic Sisters, Deborah Kennedy explores the personal and literary connections among five early eighteenth-century women poets: Anne Finch, Countess of Winchilsea; Elizabeth Singer Rowe; Frances Seymour, Countess of Hertford; Sarah Dixon; and Mary Jones. Richly illustrated and elegantly written, this book brings the eighteenth century to life, presenting a diverse range of material from serious religious poems to amusing verses on domestic life. The work of Anne Finch, author of ';A Nocturnal Reverie,' provides the cornerstone for this well informed study. But it was Elizabeth Rowe who achieved international fame for her popular religious writings. Both women influenced the Countess of Hertford, who wrote about the beauty of nature, centuries before modern Earth Day celebrations. Sarah Dixon, a middle-class writer from Kent, had a strong moral outlook and stood up for those whose voices needed to be heard, including her own. Finally, Mary Jones, who lived in Oxford, was praised for both her genius and her sense of humor. Poetic Sisters presents a fascinating female literary network, revealing the bonds of a shared vocation that unites these writers. It also traces their literary afterlife from the eighteenth century to the present day, with references to contemporary culture, demonstrating how their work resonates with new generations of readers.

Wordsworth, Hemans, and Politics, 18001830: Romantic Crises is a study of the political lives of William Wordsworth and Felicia Hemans between 1800 and 1830. Tracing trajectories from the first decade of the nineteenth century to the meeting of the two authors in 1830, Wordsworth, Hemans, and Politics argues that the dominant paradigm for their political thought was that of ';crisis.' Obsessed with the mysterious connections between the individual, the home, and the state, Wordsworth and Hemans portrayed all three in a common crisis that would be resolved in the future. Both writers articulated historical moments when the tenuousness of the present society gave glimpses into a future one. Building on and reacting to the strong critical statements of the 80s and 90s that tended to see the political views of Wordsworth and Hemans as formed by personal crises, Wordsworth, Hemans, and Politics argues that far from being tied to personal circumstances, crises were staged by Wordsworth and Hemans to argue for clear political positions on a wide variety of topics. Because crises come with claims of singularity, the use of crises to explain historical change finds its origin in revolutionary ideology. But because imagined crises proliferated throughout the Romantic period, crises no longer signaled earth-shattering change, but business as usual. The ideology of crises carried the tension between revolution and modernity that haunted the Romantic period. Wordsworth, Hemans, and Politics presents revisionary readings of major works and contributes to long-standing discussions on a number of different topics: dissenting politics, poor relief, gender roles in peace and wartime, and the nature of historical memory, to name a few. By focusing on the dramatic nature of crisis narratives, Wordsworth, Hemans, and Politics responds to master narratives of the Romantic period that limit and simplify political expression. The book restores complexity to the political lives of two poets who fashioned revolutionary ideology for their own ends.

Revealing Bodies turns to the eighteenth century to ask a question with continuing relevance: what kinds of knowledge condition our understanding of our own bodies? Focusing on the tension between particularity and generality that inheres in intellectual discourse about the body, Revealing Bodies explores the disconnection between the body understood as a general form available to knowledge and the body experienced as particularly ones own. Erin Goss locates this division in contemporary bodily exhibits, such as Gunther von Hagens Body Worlds, and in eighteenth-century anatomical discourse. Her readings of the corporeal aesthetics of Edmund Burkes Philosophical Enquiry, William Blakes cosmological depiction of the bodys origin in such works as The [First] Book of Urizen, and Mary Tighes reflection on the relation between love and the soul in Psyche; or, The Legend of Love demonstrate that the idea of the body that grounds knowledge in an understanding of anatomy emerges not as fact but as fiction. Ultimately, Revealing Bodies describes how thinkers in the eighteenth and nineteenth centuries and bodily exhibitions in the twentieth and twenty-first call upon allegorized figurations of the body to conceal the absence of any other available means to understand that which is uniquely our own: our existence as bodies in the world.

Fiction and the Philosophy of Happiness explores the novel's participation in eighteenth-century ';inquiries after happiness,' an ancient ethical project that acquired new urgency with the rise of subjective models of wellbeing in early modern and Enlightenment Europe. Combining archival research on treatises on happiness with illuminating readings of Samuel Johnson, Laurence Sterne, Denis Diderot, Jean-Jacques Rousseau, William Godwin and Mary Hays, Brian Michael Norton's innovative study asks us to see the novel itself as a key instrument of Enlightenment ethics. His central argument is that the novel form provided a uniquely valuable tool for thinking about the nature and challenges of modern happiness: whereas treatises sought to theorize the conditions that made happiness possible in general, eighteenth-century fiction excelled at interrogating the problem on the level of the particular, in the details of a single individual's psychology and unique circumstances. Fiction and the Philosophy of Happiness demonstrates further that through their fine-tuned attention to subjectivity and social context these writers called into question some cherished and time-honored assumptions about the good life: happiness is in one's power; virtue is the exclusive path to happiness; only vice can make us miserable. This elegant and richly interdisciplinary book offers a new understanding of the cultural work the eighteenth-century novel performed as well as an original interpretation of the Enlightenment's ethical legacy.

Excitable Imaginations offers a new approach to the history of pornography. Looking beyond a counter-canon of bawdy literature, Kathleen Lubey identifies a vigilant attentiveness to sex across a wide spectrum of literary and philosophical texts in eighteenth-century Britain. Esteemed public modes of writing such as nationalist poetry, moral fiction, and empirical philosophy, as well as scandalous and obscene writing, persistently narrate erotic experiencesdesire, voyeurism, seduction, orgasm. The recurring turn to sexuality in literature and philosophy, she argues, allowed authors to recommend with great urgency how the risque delights of reading might excite the imagination to ever greater degrees of educability on moral and aesthetic matters. Moralists such as Samuel Richardson and Adam Smith, like their licentious counterparts Rochester, Haywood, and Cleland, purposefully evoke salacious fantasy so that their audiences will recognize reading as an intellectual act that is premised on visceral pleasure. Eroticism in texts like Pamela and Memoirs of a Woman of Pleasure, in Lubey's reading, did not compete with instructive literary aims, but rather was essential to the construction of the self-governing Enlightenment subject.

Mary Delany's phrase ';the matrimonial trap' illuminates the apprehension with which genteel women of the eighteenth century viewed marriage. These women were generally required to marry in order to secure their futures, yet hindered from freely choosing a husband. They faced marriage anxiously because they lacked the power either to avoid it or to define it for themselves. For some women, the written word became a means by which to exercise the power that they otherwise lacked. Through their writing, they made the inevitable acceptable while registering their dissatisfaction with their circumstances. Rhetoric, exercised both in public and in private, allowed these women to define their identities as individuals and as wives, to lay out and test the boundaries of more egalitarian spousal relationships, and to criticize the traditional marriage system as their culture had defined it.

Literary Knowing in Neoclassical France analyzes the work of several literary critics in France and England, at the end of the seventeenth and beginning of the eighteenth centuries, who were inspired by the idea that literature especially the literary sublime might offer us the deepest kind of knowledge. Dominique Bouhours, Nicolas Boileau, Rene Rapin, John Dennis, and the abbe Dubos believed that literature could deliver truths that transcend our world and were analogous or even equal to the truths of divine revelation. Ann Delehanty argues that this shift towards the transcendental realm pushed the definition of the literary work away from describing its objective properties and towards its effects on the mind of the reader. After placing these ideas about literature in the context of the religious and philosophical thinking of Blaise Pascal, Delehanty traces the evolution of a debate about literature in the writings of the critics in question. They embraced theories of sentiment and the passions as the epistemological means of identifying and knowing the transcendental aspects of a literary work that eventually came to be known as aesthetics. By tracing the historical evolution of the relationship between transcendentalism and aesthetics in French and English neoclassical thought, Literary Knowing in Neoclassical France provides new and engaging insights into an important moment in our literary history.

Coyness and Crime in Restoration Comedy examines the extraordinary focus on coy women in late seventeenth-century English comedy. Plays by Etherege, Wycherley, Dryden, Behn, Shadwell, Congreve, Trotter, Southerne, Vanbrugh, and Pixas well as much modern scholarship about themtaint almost all feminine modesty with intimations of duplicity and illicit desire that must be contained. Forceful responses by men, therefore, are implicitly exonerated, encouraged, and eroticized. In short, characters become ';women' by performing coyness, only to be mocked and punished for it. Peggy Thompson explores the disturbing dynamic of feminine coyness and masculine control as it interacts with reaffirmations of church and king, anxiety over new wealth, and emerging interests in liberty, novelty, and marriage in late seventeenth-century England. Despite the diversity of these contexts, the plays consistently reveal women caught in an ironic and nearly intractable convergence of objectification and culpability that allows them little innocent sexual agency. This is both the source and the legacy of coyness in Restoration comedy.

The book offers new perspectives on works that were central to the visual and literary culture of the Anglo-American world-ephemeral print-but which have received little scholarly attention in the past.

This collection reinvigorates Sheridan studies by presenting his spectacular life and extraordinary works in the intricate political, social, and cultural context of Georgian London. The author of The Rivals, The Duenna, The School for Scandal, and the The Critic was also an innovative theatrical manager, a flashy profligate, and the mainstay of political opposition in the decisive decades of the late eighteen and early nineteenth centuries.

Developments in the Histories of Sexualities: In Search of the Normal,1600-1800 explores the oppositions created by the official exclusion of banned sexual practices and the resistance to that exclusion through widespread acceptance of those outlawed practices at an interpersonal level.

Performing Authorship in Eighteenth-Century Periodicals discusses the English periodical and how it shapes and expresses early conceptions of authorship in the eighteenth century. Unique to the British eighteenth century, the periodical is of great value to scholars of English cultural studies because it offers a venue where authors hash out, often in extremely dramatic terms, what they think it should take to be a writer, what their relationship with their new mass-media audience ought to be, and what qualifications should act as gatekeepers to the profession. Exploring these questions in The Female Spectator, The Drury-Lane Journal,The Midwife, The World, The Covent-Garden Journal, and other periodicals of the early and mid-eighteenth century, Manushag Powell examines several ';paper wars' waged between authors. At the height of their popularity, essay periodicals allowed professional writers to fashion and make saleable a new kind of narrative and performative literary personality, the eidolon, and arguably birthed a new cult of authorial personality. In Performing Authorship in Eighteenth-Century Periodicals, Powell argues that the coupling of persona and genre imposes a lifespan on the periodical text; the periodicals don't only rise and fall, but are born, and in good time, they die.

Oliver Goldsmith (17281774) moved between the genres and geographies of enlightenment writing with considerable dexterity. As a consequence he has been characterized as a passive purveyor of enlightenment thought, a hack, a harried translator of the French enlightenment for an English audience, an ideological lackey, and a subtle ironist. In poetry, he is either a compliant pastoralist or an engaged social critic. Yet Goldsmith's career is as complex and as contradictory as the enlightenment currents across which he wrote, and there is in Goldsmith's oeuvre a set of themesincluding his opposition to the new imperialism and to glibly declared principles of libertywhich this book addresses as a manifestation of his Irishness. Michael Griffin places Goldsmith in two contexts: one is the intellectual and political culture in which he worked as a professional author living in London; the other is that of his nationality and his as yet unstudied Jacobite politics. Enlightenment in Ruins thereby reveals a body of work that is compellingly marked by tensions and transits between Irishness and Englishness, between poetic and professional imperatives, and between cultural and scientific spheres.

The book stands as a new bench-mark in Smart studies for the twenty-first century. The essays explore the energy of Christopher Smart's wide-ranging participation in eighteenth-century print culture: not only his often unbuttoned and vigorous writings themselves, but also the multiple cultural fields in which he operated, which included poetry, journalism, hymns and songs, translation, the theatre and books for children; thus the book offers rich insights into eighteenth-century literary, political and cultural history.