[Milton-L] Eighteenth Century Fiction 26.2, Winter 2013-14 now available

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Thu Jan 9 10:56:52 EST 2014

Eighteenth Century Fiction 

Volume 26, Number 2, Winter 2013-14 



This issue contains: 


 <http://utpjournals.metapress.com/content/17328l36h064t655/> Ideal
Friendship and the Paradoxes of Narration in Sarah Fielding’s David Simple

Bryan Mangano


Sarah Fielding’s The Adventures of David Simple and David Simple, Volume the
Last engage with the social category of real friendship not only in
representations of character ties, but also in the development of a
third-person narrator that works to embody ideal amity through a
triangulation of the reader’s attitude towards characters. In contrasting
instances of true and false friendship, the novels generate a radical
scepticism that the narrator must deflect by managing access to characters
in a manner that stimulates the reader’s faith in their affections. The
narrator’s performance of friendship towards character and reader generates
contradictions around the epistemology of knowing other minds, the ethics of
friendly intimacy, and power relations between writer and audience. In this
article, I argue that Fielding’s technique suggests the broader significance
of ideal friendship as a privileged moral concept for the history of
eighteenth-century fiction. DOI:



 <http://utpjournals.metapress.com/content/h1548518j8078373/> De l’amour
électif comme réel absolu: Mémoire et passion dans La Nouvelle Héloïse de
J.-J. Rousseau

Jean-François Perrin


Dans La Nouvelle Héloïse de Jean-Jacques Rousseau, roman qui fut ressenti
par toute son époque comme résolument moderne, l’ancien idéalisme romanesque
issu de L’Astrée se trouve à la fois dépassé et relancé à travers une
puissante réactivation de la dialectique platonicienne de l’amour.
L’approche sensationniste des rapports entre sensibilité et conscience
passionnée, alors courante dans la fiction libertine, y est combattue par la
mise en scène très concertée du primat du sentiment sur la sensation et de
l’accent sur la représentation, et par la démonstration de ce que
l’intériorité passionnée de l’âme sensible est bien pour elle toute la
réalité: les suites problématiques des expériences de M. de Wolmar avec
l’imaginaire mémoriel des héros illustrent ce qu’on risque, par conséquent,
à manipuler les êtres en négligeant la spiritualité de leurs affects (et
révèlent au passage la familiarité méconnue de Rousseau avec l’enseignement
classique des Arts de la mémoire). On constate enfin la puissante capacité
d’exploration artistique du temps subjectif qu’a permise, bien avant Les
Confessions, une assomption à la fois méditée et vécue de la thèse lockienne
sur le fondement mémoriel de l’identité personnelle. DOI:



 <http://utpjournals.metapress.com/content/91981413665k4129/> The Recess
Does Not Exist: Absorption, Literality, and Feminine Subjectivity in Sophia
Lee’s The Recess

Matthew J. Rigilano


The structure of feminine subjectivity in Sophia Lee’s The Recess; Or, A
Tale of Other Times (1783) is frequently reduced to a discursive
construction or a maternal substance. When critical attention is focused on
Lee’s unique handling of visual and textual “absorption”—a concept I borrow
from Michael Fried—it is clear that historicist and Gothic logics of
subjectivity fall short of describing what the novel actually achieves. I
link Lee’s textual innovations to Jacques Lacan’s theories of the gaze and
of feminine desire. Just as Lacan emphasized the literal aspect of the
signifier, Lee attempts to literalize the historical and subjective dramas
with which she engages in the novel. Her literalizations exceed the standard
alignment of the feminine with non-meaning or nature (an alignment that
supports the assumption of masculine meaningfulness) as Lee’s literality
pertains to the letter itself. To be absorbed by the literal: it is this
unique scenario that necessitates a rethinking of the basic problematic of
sentimental reading practices in the eighteenth century. DOI:



 <http://utpjournals.metapress.com/content/27xp0771l7w92527/> Anachronistic
Aesthetics: Maria Edgeworth and the “Uses” of History

Mary Mullen


Scholars often understand Maria Edgeworth as a belated Enlightenment writer
in a Romantic age because she seeks to organize both her fiction and the
history it represents so that they can be put to use. In this article,
however, I argue that Maria Edgeworth’s Irish writing legitimates lived
relationships between past and present that her politics wished to
eradicate. Although she attempts to periodize within her fiction to shape a
useful history—separating past and present in order to bring about an
imagined future—her anachronistic aesthetics unsettle her historical periods
and show the political value of discordance, contingency, and historical
misuse. Focusing especially on An Essay on Irish Bulls and Castle Rackrent,
I consider how Edgeworth’s anachronisms imagine political possibilities that
do not simply support either union with England or Irish nationalism. The
heterogeneity created by portable aesthetic forms—whether literary language
that transcends its historical context or forms of metalepsis that propel
readers forward and backward in time—foster transhistorical relationships
that expand our understanding of the present and imagine a more open future.
DOI:  <http://utpjournals.metapress.com/content/27xp0771l7w92527/>



 <http://utpjournals.metapress.com/content/a7r267002462220m/> Tending to the
(National) Household: Walter Scott’s The Antiquary and “that happy commerce”
of the Enlightenment

Natasha Tessone


This essay explores the question of commercialism in Walter Scott’s The
Antiquary (1816), particularly as it reflects Enlightenment debates about
the place of ethics in a modern commercial society. I examine the
challenge—and, for Enlightenment thinkers, the urgency—of living morally in
a commercialized, modern Britain, where communal ties were replaced by
self-interest and monetary gain. In The Antiquary, Scott follows the
thinking of Adam Smith and David Hume, who strove to define an aggregate of
self-interested men as a principled community with well-developed social and
ethical norms that would allow for what Smith called a “happy commerce” of
socialization. Set during the French Revolution, the community anxiously
anticipating a supposed French invasion cannot afford to give in to
self-interested impulses that threaten to pull its members away from a
unified polity. Rather than valorizing the feudal community and its social
relationships, Scott historicizes the moment when sentiment as an affective
communal glue is remediated from its feudal model into a force of
sociability that would fit a society governed by a system of moral economy
that is contingent upon the rules of contemporary, post-feudal commercial
order. DOI:  <http://utpjournals.metapress.com/content/a7r267002462220m/>



 <http://utpjournals.metapress.com/content/r643851534k7nwh4/> Why the Show
Must Not Go On: “Real Character” and the Absence of Theatrical Performances
in Mansfield Park

Kathleen E. Urda


This article revisits the question of why Jane Austen refuses to portray any
theatrical performances within Mansfield Park (1814), even though much of
the plot concerns a group of young people attempting to put on a play. While
scholars have generally abandoned the idea that this choice reveals Austen’s
puritanical distaste for the theatre, it remains unusual in the context of
other roughly contemporary novels that also involve the theatre or
theatricals. Looking at examples of such theatrical novels shows that their
staging of performances tends to disrupt the idea of character as stable
identity, in much the same way that Lisa Freeman has suggested theatre
itself did at the time. Though her use of interiority has been much
discussed as the tool Austen employs to construct a sense of essential
identity for her characters, her decision to forego the direct
representation of various theatrical moments while focusing readers’
attention on their consequences is another way Austen convinces us that the
novel is able to distinguish “real” character from the performance of it.
DOI:  <http://utpjournals.metapress.com/content/r643851534k7nwh4/>



 <http://utpjournals.metapress.com/content/t46436665np21223/> Book
Reviews/Critiques de livres


Kathleen Lubey, Excitable Imaginations: Eroticism and Reading in Britain,
1660–1760, Reviewed by George E. Haggerty

John C. O’Neal, The Progressive Poetics of Confusion in the French
Enlightenment, Reviewed by James A. Steintrager

Roger D. Lund, Ridicule, Religion and the Politics of Wit in Augustan
England, Reviewed by Darryl P. Domingo

Lyndon J. Dominique, Imoinda’s Shade: Marriage and the African Woman in
Eighteenth-Century British Literature, 1759–1808, Reviewed by Roxann Wheeler

Jason Solinger, Becoming the Gentleman: British Literature and the Invention
of Modern Masculinity, 1660–1815, Reviewed by Shawn Lisa Maurer

Karen Valihora, Austen’s Oughts: Judgment after Locke and Shaftesbury,
Reviewed by Hina Nazar

Francesca Saggini, trans. Laura Kopp, Backstage in the Novel: Frances Burney
and the Theatre Arts, Reviewed by Stewart Cooke

Manushag N. Powell, Performing Authorship in Eighteenth-Century English
Periodicals, Reviewed by Chantel Lavoie

éd. Jan Herman, Kris Peeters et Paul Pelckmans, Dupaty et l’Italie des
voyageurs sensibles, Reviewed by Friedrich Wolfzettel

Alexandre Radichtchev, ed. Rodolphe Baudin, Le Voyage de Petersbourg à
Moscou (1790), Reviewed by Andreas Schönle

DOI:  <http://utpjournals.metapress.com/content/t46436665np21223/>




Eighteenth Century Fiction publishes articles in both English and French on
all aspects of imaginative prose in the period 1700–1800, but will also
examine papers on late 17th-century or early 19th-century fiction,
particularly when the works are discussed in connection with the eighteenth


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period 1700-1800, but are also happy to consider papers on late
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