[Milton-L] Spring issue of Eighteenth Century Fiction now available online

UTP Journals thawkic551 at rogers.com
Tue Apr 5 13:29:28 EDT 2016


Now available online


 

Eighteenth Century Fiction - Volume: 28, Number: 3 (Spring 2016) 

 <http://bit.ly/ecf_283> http://bit.ly/ecf_283

 

Dark Humour and Moral Sense Theory: Or, How Swift Learned to Stop Worrying
and Love Evil

Shane Herron

This article examines points of agreement between Jonathan Swift’s satire,
in such works as Gulliver’s Travels (1726) and A Modest Proposal (1729), and
the moral sense philosophy of Francis Hutcheson, as represented in, for
example, An Inquiry into the Original of Our Ideas of Beauty and Virtue
(1725). I argue that Swift’s satirical representations of evil rely on a
construct similar to what Hutcheson calls “disinterested malice,” a
deliberate delight in cruelty for its own sake. Hutcheson suggests that
disinterested malice is imaginable but not possible: although it is
conceivable to choose malicious conduct purely for its own sake, in practice
real individuals will always be subject to partial interests, biases, and
prejudices. Swift’s satire functions by restoring this ethical potential
lost in the actualization. It attacks the target by remaining faithful to it
on its own terms, demonstrating that the impossible ideal that evil espouses
is both more repellant and more ethical than the quotidian forms of
selfishness or malice that proxy it.  <http://bit.ly/ecf283a>
http://bit.ly/ecf283a

 

“Set the winter at defiance”: Emily Montague’s Weather Reports and Political
Sensibility

Morgan Vanek

This article examines the political significance of the detailed
descriptions of Canada’s very cold weather in Frances Brooke’s epistolary
novel, The History of Emily Montague (1769). In 1769, public sphere debate
about Canada was focused on the difficulty of displacing French Catholic
loyalties among new British subjects. By using the same terms to describe
the effects of the weather on her British protagonists and the effects of
French Catholic influence on the new subjects these travellers hope to
convert to British values, Brooke identifies French Catholic “coldness of
character” as a serious threat to the British project to cultivate affection
in these colonists. By the novel’s end, however, Brooke’s protagonists also
model a willingness to enjoy the weather’s influence that aligns
assimilating to British values with improvements in sensibility, rather than
conflict. I conclude that tracking this change in Brooke’s characters’
writing about the weather casts new light on Emily Montague’s contribution
to an important mid-century debate about how Britain would imagine and
manage the increasingly diverse environments of its empire.
<http://bit.ly/ecf283b> http://bit.ly/ecf283b

 

The Sentimental Virtuoso: Collecting Feeling in Henry Mackenzie’s The Man of
Feeling

Barbara M. Benedict

This article explains the ambiguities in Henry Mackenzie’s quasi-ironic
sentimental novel, The Man of Feeling, by examining its debt to an earlier,
formative literary tradition: the seventeenth-century character collection
that features the caricatured antiquarian virtuoso. Character collections,
exemplified by Samuel Butler’s Characters (mainly written between 1667 and
1669), constitute catalogues of ridiculed social and psychological types,
prominent among whom are collector-characters derogated for antisocial
self-absorption, arrogance, scopophilia, impotence, and credulity. As a
sentimental novel, written in an era that highly valued sociability, The Man
of Feeling reveals how this satiric inheritance com plicates the praise of
feeling. It reworks the structure and types of the character tradition and
the figure of the antiquarian virtuoso by means of narrative frames that
distance readers from the sen ti mental incidents; an episodic form that
fractures sequential narrative; and rhetoric, themes, and characters that
play on the opposition between materiality, idea, and feeling that informs
the caricature of the antiquarian virtuoso. These features help to explain
the ambiguity of the “man of feeling”: the sentimental virtuoso who both
objectifies and personalizes a world of collectible experiences.
<http://bit.ly/ecf283c> http://bit.ly/ecf283c

 

“The Greatest Appearance of Truth”: Telling Tales with Thomas Holcroft

Eliza O’Brien

The eighteenth-century radical Thomas Holcroft (1745–1809) devoted himself
to communicating truth in all his writings. But to what extent is this
dedication to truth-telling undermined by Holcroft’s use of deceit and
duplicity to test the omnipotence of truth, especially when deceit threatens
to overpower truth? In this article, I examine a series of scenes in
Holcroft’s plays and novels wherein truth is not always adequately expressed
in language. As a result, performance gains importance. Holcroft develops an
increasingly subtle understanding of the relation between truth and the
modes of its communication. Performance, even as it may seem to destabilize
speech, can be used to intensify it and ultimately to clarify the
transmission of truth, which is Holcroft’s great aim. By the end of his
career, in his final novel Memoirs of Bryan Perdue (1805) Holcroft’s
understanding of the efficacy of clear speech and performance is
strengthened and developed by a new appreciation of what the body of the
truth-teller, silent or speaking, can convey.  <http://bit.ly/ecf283d>
http://bit.ly/ecf283d

 

Ann Radcliffe’s Scientific Romance

Adam Miller

The trope of the explained supernatural has vexed scholarly efforts to place
Ann Radcliffe’s works squarely within an Enlightenment or Romantic regime.
The trope’s appeal to naturalism in The Mysteries of Udolpho (1794) invites
comparisons between Radcliffe and contemporaries like Erasmus Darwin,
Charlotte Smith, and other early practitioners of Romantic science. I argue
that Radcliffe achieves a more radical vision of science than her con
temporaries by rejecting utilitarian appropriations of natural phenomena.
She instead presents science as a romantic pursuit of knowledge that rejects
technical mastery and ends in aestheticized scenes of pastoral and domestic
harmony. Finally, by interrupting the progress of Udolpho’s narrative, the
explained super natural creates textual clearings for Radcliffe’s readers to
reproduce the scientific romances of her characters.
<http://bit.ly/ecf283e> http://bit.ly/ecf283e

 

>From the Typewriter to the Internet: Editing Smollett for the Twenty-First
Century

Frank Felsenstein

The year 2016 marks the 250th anniversary of the publication of Tobias
Smollett’s Travels through France and Italy (1766), which, in the early 21st
century, was named one of the greatest travel books of all time. Frank
Felsenstein, editor of the 1979 Oxford University Press edition of
Smollett’s Travels (and the Broadview Press 2011 edition), discusses the
original publication of the book and its reception history, as well as his
own recollections of first studying the Travels. He examines the changes in
editorial research methods from the time of the typewriter to the era of the
internet and the ways in which the electronic archive can be plumbed for yet
more exciting revelations about this and other eighteenth-century works.
<http://bit.ly/ecf283f> http://bit.ly/ecf283f

 

REVIEWS/CRITIQUES

Review essay: Social Reform in Gothic Writing: Fantastic Forms of Change,
1764–1834 by Ellen Malenas Ledoux; Gothic Subjects: The Transformation of
Individualism in American Fiction, 1790–1861 by Siân Silyn Roberts; and
Episodic Poetics: Politics and Literary Form after the Constitution by
Matthew Garret

Agnieszka Soltysik Monnet

 

Review essay: Nikolaï Karamzin en France: L’image de la France dans les
“Lettres d’un voyageur russe,” éd. Rodolphe Baudin; and The First Epoch: the
Eighteenth Century and the Russian Cultural Imagination by Luba Golburt

Valeria Sobol

 

She Stoops to Conquer by Oliver Goldsmith, Directed by Martha Henry,
Stratford Festival, Stratford, 16 May–10 October 2015

Julia Fawcett

 

Mr Foote’s Other Leg by Ian Kelly, Directed by Richard Eyre, Royal Theatre
Haymarket, London, 4 November 2015–23 January 2016

Heather Ladd

 

What Jane Saw’s Recreation of the Boydell Shakespeare Gallery in 1796,
http://www.whatjanesaw.org/

Fiona Ritchie

 

Feeling Beauty: The Neuroscience of Aesthetic Experience by G. Gabrielle
Starr

Natalie Phillips and Kristina Persenaire

 

Literature and Encyclopedism in Enlightenment Britain: The Pursuit of
Complete Knowledge by Seth Rudy

Jack Lynch

 

Romanticism and the Museum by Emma Peacocke

Eric Gidal

 

Narrative Responses to the Trauma of the French Revolution by Katherine
Astbury

Mette Harder

 

Fiction and the Philosophy of Happiness: Ethical Inquiries in the Age of
Enlightenment by Brian Michael Norton

Ann Van Sant

 

Sympathy, Sensibility and the Literature of Feeling in the Eighteenth
Century by Ildiko Csengei

Ann Van Sant

 

Les Aventures de Sophie: La philosophie dans le roman au xviiie siècle par
Colas Duflo

Christophe Martin

 

Epic into Novel: Henry Fielding, Scriblerian Satire, and the Consumption of
Classical Literature by Henry Power

Claude Rawson

 

Passion and Language in Eighteenth-Century Literature: The Aesthetic Sublime
in the Work of Eliza Haywood, Aaron Hill, and Martha Fowke by Earla Wilputte

David Oakleaf

 

Sade et les Femmes: Ailleurs et Autrement, éd. Anne Coudreuse et Stéphanie
Genand

Armelle St-Martin

 

Les « Lettres persanes » de Montesquieu, dir. Christophe Martin

Carole Dornier

 

Casanova: La mémoire du désir by Cyril Francès

Sabrina Ferri

 

Eugénie et Mathilde, ou Mémoires de la famille du Comte de Revel par Mme de
Souza, éd Kirsty Carpenter

Laurence Vanoflen

 

In Quest of the Self: Masquerade and Travel in the Eighteenth-Century Novel:
Fielding, Smollett, Sterne by Jakub Lipski

Richard J. Jones

 

---------------------------------------------------

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
century.  <http://www.utpjournals.com/ecf> www.utpjournals.com/ecf

 

Eighteenth Century Fiction is available online at:

Project MUSE -  <http://bit.ly/ecf_pm> http://bit.ly/ecf_pm

ECF Online -  <http://bit.ly/ecf_online> http://bit.ly/ecf_online

 

Submissions to Eighteenth Century Fiction

The editors invite contributions on all aspects of imaginative prose in the
period 1700-1800, but are also happy to consider papers on late
seventeenth-century or early nineteenth-century fiction. The languages of
publication are English and French. Articles about the fiction of other
languages are welcomed and comparative studies are particularly encouraged.
The suggested length for manuscripts is 6,000-8,000 words, but longer and
shorter articles have been published in the journal.

 

The Chicago Manual of Style is used for most points in ECF. Articles
submitted should be double-spaced, including quotations. Email submissions
are encouraged  <mailto:%20ecf at mcmaster.ca> ecf at mcmaster.ca. As ECF
evaluates manuscripts anonymously, the author's name ought not to appear on
the article itself.

 

Posted by T Hawkins, UTP Journals

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