Böcker i Transits: Literature, Thought & Culture 1650-1850-serien

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.

Tells the troubled history of abolition and slave violence by examining representations of shipboard mutiny and insurrection in late eighteenth- and early nineteenth-century Anglo-American and American literature. Fire on the Water centers on five black sailors, whose experiences either inspired or found resonance within fiction.

Samuel Johnson's life was situated within a rich social and intellectual community of friendships and antagonisms. This book is a collection of ten essays that explores relationships between Johnson and several of his main contemporaries and analyses some of the literary productions emanating from the pressures within those relationships.

The poets discussed in Cultivating Peace imagine states of peace and war to be fundamentally and materially linked. In distinct ways, they dismantle the dream of the golden age renewed, proposing instead that peace must be sustained by constant labour.

Offers a new understanding of Islam in eighteenth-century Britain. Samara Cahill explores two overlapping strands of thinking about women and Islam, which produce the phenomenon of "feminist orientalism".

Explores the transformative power of reading in the eighteenth century, and how this was expressed in the fascination with Don Quixote and in a proliferation of narratives about quixotic readers, readers who attempt to reproduce and embody their readings.

Examines the significant role that disability plays in shaping the British literary history of sexuality. Jason Farr shows that various eighteenth-century novelists represent disability and sexuality in flexible ways to reconfigure the political and social landscapes of eighteenth-century Britain.

In bringing together Austen and comedy, which are both often dismissed as superfluous or irrelevant to a contemporary world, this collection of essays directs attention to the ways we laugh, the ways that Austen may make us do so, and the ways that our laughter is conditioned by the form in which Austen writes: comedy.

A deep dread of puppets and the machinery that propels them surfaced in Romantic literature in the late eighteenth and early nineteenth century. This book is a collection of essays examining the rise of cultural suspicion of all imitations of homo sapiens and similar machinery, as witnessed in the literature and arts of the time.

A deep dread of puppets and the machinery that propels them surfaced in Romantic literature in the late eighteenth and early nineteenth century. This book is a collection of essays examining the rise of cultural suspicion of all imitations of homo sapiens and similar machinery, as witnessed in the literature and arts of the time.

British Romanticism and the Literature of Human Interest investigates the generic structures of Romantic literature and the negotiation of the status of literature in the period in relation to a new media landscape. This book explores the self-theorization of Romantic literature and argues for its value to contemporary literary criticism.

Argues that Scottish poetry in the age of Burns reclaims not a single past, dominated and overwritten by the unitary national language of an elite ruling class, but a past that conceptualizes the Scottish nation in terms of local self-identification, linguistic multiplicity, cultural and religious difference, and transnational affiliations.

Traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel, offering a dramatic new approach to the history of the English novel that examines how the collaboration of genres contributed to the novel's narrative form and to the modern organization of literature.

Unearths a performance history, on and off the stage, of Restoration libertine drama in Britain's eighteenth and early nineteenth centuries. Daniel Gustafson traces libertine drama's persistent appeal for writers and performers wrestling with the powers of the emergent liberal subject and the tensions of that subject with sovereign absolutism.

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.

Examines Anglophone writers who repurposed William Wordsworth's poetry. By reading Wordsworth in dialogue with J. M. Coetzee, Lydia Maria Child, and Jamaica Kincaid, Katherine Bergren revitalizes our understanding of Wordsworth's career and its place in the canon.

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.

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.

A stylish critique of literary attitudes towards painting, TextualVision explores the simultaneous rhetorical formation and empirical fragmentation of visual reading in enlightenment Britain. Beginning with an engaging treatment of Popes Rape of the Lock, Timothy Erwin takes the reader on a guided tour of the pointed allusion, apt illustration, or the subtle appeal to the minds eye within a wide array of genres and texts, before bringing his linked case studies to a surprising close with the fiction of Jane Austen. At once carefully researched, theoretically informed and highly imaginative, Textual Vision situates textual vision at the cultural crossroads of ancient pictura-poesis doctrine and modernist aesthetics. It provides reliable interpretive poles for reading enlightenment imagery, offers vivid new readings of familiar works, and promises to invigorate the study of Restoration and eighteenth-century visual culture.

The recovery and reinvention of the past were fundamental to the conception of the modern in England during the long eighteenth century. Scholars then forged connections between linear time and empirical evidence that transformed historical consciousness. Chronologers, textual critics, and antiquaries constructed the notion of a material past, which spread through the cultures of print and consumption to a broader public, offering powerfuland for that reason, contestedways of perceiving temporality and change, the historicity of objects, and the relation between fact and imagination. But even as these innovative ideas won acceptance, they also generated rival forms of historical meaning. The regular progression of chronological time accentuated the deviance of anachronism and ephemerality, while the opposition of unique artifacts to ubiquitous commodities exoticized things that straddled this divide.Inspired by the authentic products as well as the anomalous by-products of contemporary scholarship, writers, craftsmen, and shoppers appropriated the past to create nostalgic and ironic alternatives to their own moment. Barrett Kalter explores the history of these ';modern antiques,' including Dryden's translation of Virgil, modernizations of The Canterbury Tales, Gray's Gothic wallpaper, and Walpole's Strawberry Hill. Though grounded in the ancient and medieval eras, these works uncannily addressed the controversies about monarchy, nationhood, commerce, and specialized knowledge that defined the present for the English eighteenth century. Bringing together literary criticism, historiography, material culture studies, and book history, Kalter argues that the proliferation of modern antiques in the period reveals modernity's paradoxical emergence out of encounters with the past.

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.

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.

Tobias Smollett (1721-71) is best known today as a novelist. In the eighteenth-century, he was principally regarded as a historian and critic. In this book, Richard J. Jones explores the diversity of Smollett's journalistic and literary writings. In doing so, he establishes new connections between Smollett's work and contemporary writers of the Scottish Enlightenment. Smollett is presented, much like the philosopher David Hume, as a Scot in London, writing history and critical essays. The book takes as its focal point Smollett's visit to Nice, between 1763 and 1765, and the account he wrote of it in Travels through France and Italy (1766). This account is usually seen as a 'travel narrative'. However, Jones argues that it should more properly be read as 'pocket encyclopedia' in the tradition of Voltaire. Jones offers a productive juxtaposition of authors, texts, and contexts for readers interested in questions of genre, Enlightenment thought, and the cosmopolitan nature of eighteenth-century culture.

This book explores the ways in which five female radical novelists of the 1790sElizabeth Inchbald, Eliza Fenwick, Mary Hays, Charlotte Smith, and Mary Wollstonecraftattempt to use the components of private life to work toward widespread social reform. These writers depict the conjugal family as the site for a potential reformation of the prejudices and flaws of the biological family. The biological family in the radical novels of female writers is fraught with problems: greed and selfishness pervert the relationships between siblings, and neglect and ignorance characterize the parenting received by the heroines. Additionally, the radical novelists, responding to representations of biological families as inherently restrictive for unmarried women, develop the notion of marriage to a certain type of man as a social duty. Marriage between two properly sensible people who have both cultivated their reason and understanding and who can live together as equals, sharing domestic responsibilities, is shown to be an ideal with the power to create social change. Positioning their depictions of marriage in opposition to earlier feminist depictions of female utopian societies, the female radical novelists of the 1790s strive to depict relationships between men and women that are characterized by cooperation, individual autonomy, and equality. What is most important about these depictions is their ultimate failure. Most of the female radical novelists find such marriages nearly impossible to conceptualize. Marriage, for many of the female radical novelists, was an institution they perceived as inextricably related to (male) concerns about property and inescapably patriarchal under the marriage laws of late eighteenth-century British society. Unions between two worthy individuals outside the boundaries of marriage are shown in the female radical novels to be equally problematic: sex inevitably is the basis for such unions, yet sex leaves women vulnerable to exploitation by men. Rather than the triumph, therefore, of what comes to be in these novels the male-associated values of property and power through marriage, the female radical novels end by suggesting an alternative community, one that will shelter those members of society who are most frequently exploited in male attempts to accumulate this property and power: women, servants, and children.

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.

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.

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.

In looking closely at Horace Walpole's Correspondence, George E. Haggerty shows how these letters, when taken in aggregate, offer an astonishingly vivid account of the vagaries of eighteenth-century masculinity. Walpole talks about himself obsessively: his wants, his needs, his desires; hies physical and mental pain; his artistic appreciation and his critical responses. It is impossible to read these letters and not come away with a vivid impression of a complex personality from another age. Haggerty examines the ways in which Walpole presents himself as an eighteenth-century gentleman, and considers his personal relationships, his needs and aspirations, his emotionalism and his rationality - in short, his construction of himself - in order to see what it tells us about the age in general and more specifically, about masculinity in an era of social flux. This study of Walpole and his epistolary relations offers a unique window into both the history of masculinity in the eighteenth century and the codification of friendship as the preeminent value in western culture. Recent studies have tried to rewrite Walpole in a twenty-first century mold while this work looks at the writer and the ways in which he constructs himself and his relations, not in hopes of uncovering a lurid secret, but rather in pursuit of the figure that he created and that has fascinated generations of readers and writers since the eighteenth century.