[Milton-L] Eighteenth-Century Fiction Winter 2017-18

UTP Journals thawkic551 at rogers.com
Wed Jan 24 14:38:05 EST 2018


New Issue Available Online!

 

Eighteenth-Century Fiction

Volume 30, No. 2, Winter 2017-8

ECF Online:  <http://bit.ly/ECF302w> http://bit.ly/ECF302w &
<http://bit.ly/pmECF302> http://bit.ly/pmECF302 at Project Muse

Articles: 

Sociality and Good-Faith Economy in Daniel Defoe’s Robinson Crusoe

Daniel Yu

Robinson Crusoe (1719) by Daniel Defoe was long hailed as the founding myth
of “Economic Man,” with critics until the mid-twentieth century tending to
portray the shipwrecked narrator as the exemplar of utilitarian
individualism. The novel’s reception among economists from David Ricardo to
Karl Marx was largely determined by Jean-Jacques Rousseau’s revisionary
reading, which excluded large parts of the narrative from consideration. In
revisiting the parts that Rousseau thought extraneous, this essay finds that
the character of Crusoe is an eminently social being who relies on the
charity of several generous benefactors. Their relationships are notably
amicable, constituted by mutual trust and goodwill. As an intimate society,
they share gifts and ex change favours without apparent regard for
profit-making. In representing them selves as generous friends, they belie
the economic realities that support their accumulation of wealth. The Crusoe
that emerges from an examination of his symbolic activity is one whose
practices of gift-giving are governed less by reason or notions of utility
than by powerful symbols and the relations that inhere in them.
<http://bit.ly/ecf302a> http://bit.ly/ecf302a

Deathly Sentimentalism: Sarah Fielding, Henry Mackenzie

 <http://www.utpjournals.press/author/Williams%2C+Jonathan+C> Jonathan C.
Williams

Regarding the eighteenth-century sentimental novel, critics have long argued
that sentiment works to bond subjects and to accommodate subjects to
society. The sentimental novel also teaches the reader how to die. Looking
to Sarah Fielding’s The Adventures of David Simple (1744, 1753) and Henry
Mackenzie’s The Man of Feeling (1771), I argue that the eighteenth-century
sentimental novel deploys death as a figure for thinking about political
critique and its limits. On their deathbeds, characters utter politically
charged speeches, but cannot act upon their words, such that sentimental
critique is both powerful and inoperative. Along the contours of a deathly
sentimentalism there are slippages between resistance and passivity, between
isolation and socialization. The sentimental novel bespeaks, in its emphasis
upon mortality and its vexations, the difficulty of accommodating political
expression in rhythm with the momentum of modern history.
<http://bit.ly/ecf302b> http://bit.ly/ecf302b

Mellifluent Sexuality: Female Intimacy in Ann Radcliffe’s The Romance of the
Forest

Jeremy Chow

Pamphlets like Onania (1716), whose rate of reprinting exploded during the
eighteenth century, became docents for ironically teaching and demonstrating
erotic pleasures to readers, rather than expurgating them, as intended. As a
result, the possibilities for pleasure reading were varied and many. I offer
Ann Radcliffe’s novel The Romance of the Forest (1791), as an extension of
those autoerotic reading pleasures for an eighteenth-century audience.
Radcliffe’s novel veils the possibility of a masturbatory narrative with
music and instrumentality. The lute, an instrument with diverse and erotic
resonances in the eighteenth century, mediates these practices for
Radcliffe’s two heroines. In meditating on the lute’s depiction, I trace the
early modern history of the lute in literature and art, reflect on its
connections to embodiment and erotic performance, and consider the ways
musical performance becomes a site of female intimacy and pleasure, which
complicates readings of public and private spaces. For Clara and Adeline,
the autoerotic lute enables the blossoming of transgressive sexuality,
despite the heteronormativity offered by the novel’s ending.
<http://bit.ly/ecf302c> http://bit.ly/ecf302c

“He bears no rival near the throne”: Male Narcissism and Early Feminism in
the Works of Charlotte Dacre

Jennifer L. Airey

For many critics, Charlotte Dacre is an essentially conservative author,
whose female villains ventriloquize and thereby discredit early feminist
thought. This essay disputes such readings by exploring her
under-acknowledged criticisms of patriarchy. Dacre’s male characters are
self-important narcissists, who disdain female education for the agency it
gives women. If a woman is well-educated, she is less likely to submit, less
likely to serve as an extension of her husband’s will alone. Patriarchy also
encourages women to turn on one another, Dacre argues; her female villains
uniformly value advancement among men over sisterhood, and they willingly
destroy other women to attain their own ends. Dacre thus takes a pessimistic
approach to women’s options at the beginning of the nineteenth century. Her
female characters do not enjoy happy endings, regardless of marital status,
level of education, or morality, because patriarchal systems are designed to
crush women no matter how they behave. Far from mocking early feminism,
then, Dacre criticizes it for being insufficiently radical in addressing
problems with male behaviour.  <http://bit.ly/ecf302d> http://bit.ly/ecf302d

The Sensation of Language in Jane Austen’s Persuasion

Megan Quinn

Contrary to an influential critical tradition that detaches Jane Austen and
her style from the body, I argue that Persuasion (1817) represents the
culmination of a style in which language is a physical agent, with force
that comes from or acts on the body. Embodied language was always part of
Austen’s aesthetics, appearing in the juvenilia, when the movement of
narrative creates the sensation of bodily motion, and in Emma (1815) through
physical word games with children’s alphabet blocks. In Persuasion, Austen
advances the sense of embodied language from her earlier work to language as
sensory immersion, particularly through the sensation of words as sounds.
With the sense of physical presence and voice that Captain Wentworth’s
letter imparts, the novel finally reveals a language based on the
restoration of the body and its sounds to writing. For Austen, language
always gets physical, and her style centres on an emphatic enjoyment of
embodied life.  <http://bit.ly/ecf302e> http://bit.ly/ecf302e

Henry Crawford as Master Betty: Jane Austen on the “Disabling” of
Shakespeare

Chris Mounsey

Jane Austen’s novel Mansfield Park with its direct quotes from Shakespeare’s
Henry VIII and its underlying plot reference to King Lear may be read as a
cri de cœur from Austen at the poor state of the British theatre in the
early nineteenth century. At a time when Shakespeare’s plays were performed
in altered versions to please audiences, when the dialogue was known to many
only in fragments, and when children such as Master William Betty were
lionized equally by the same audience for playing Hamlet and sentimental
roles in the clap-trap comedy Lovers Vows, Mansfield Park calls for the
nation to return to the Complete Works of Shakespeare to rediscover pride in
itself, its heroes, and its heroines and to know Fanny Price as the proper
subject for a novel.  <http://bit.ly/ecf302f> http://bit.ly/ecf302f

For a full list of book reviews, please visit ECF Online:
<http://bit.ly/ECF302w> http://bit.ly/ECF302w

Eighteenth-Century Fiction (ECF) is an international, peer-reviewed
quarterly devoted to the critical and historical investigation of literature
and culture of the period 1660-1832. Since its foundation in 1988, ECF has
expanded its scope to reflect changes in the discipline, and we now solicit
and publish a variety of approaches on a wide range of relevant cultural
materials. Recognizing the fluid notions of fiction within the period, as
well as the growing body of interdisciplinary work by scholars in the field,
the ECF editors seek submissions that conceive of “fiction” in its broader
sense and expand the frameworks of critical, historical, and theoretical
discussion.

For more information about Eighteenth-Century Fiction or for submissions
information, please contact: 

 

University of Toronto Press - Journals Division

5201 Dufferin St., Toronto, ON, Canada M3H 5T8

Tel: (416) 667-7810 Fax: (416) 667-7881

Fax Toll Free in North America 1-800-221-9985

 <mailto:journals at utpress.utoronto.ca> journals at utpress.utoronto.ca

 <http://utpjournals.press/loi/e> http://utpjournals.press/loi/ecf

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