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Masquerade and Gender
Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Be...
Cooking by the Book
The essays collected here explore the power and sensuality that food engenders within literature. The book permits the reader to sample food as a rhetorical structure, one that allows the individual writers to articulate the abstract concepts in a medium that is readily understandable. The second part of Cooking by the Book turns to the more diverse food rhetorics of the marketplace. What, for example, is the fast food rhetoric? Why are there so many eating disorders in our society? Is it possible to teach philosophy through cookery? How long has vegetarianism been popular?
The Injur'd Husband and Lasselia
Eliza Haywood (1693?-1756) was one of the first women in England to earn a living writing fiction. Her early tales of amorous intrigue, sometimes based on real people, were exceedingly popular though controversial. Haywood, along with her contemporary Daniel Defoe, did more than any other writer to create a market for fiction in the period just prior to the emergence of Samuel Richardson, Henry Fielding, and Tobias Smollett, the dominant novelists of the mid-eighteenth century. The scheming, sexually predatory anti-heroine of The Injur'd Husband is a memorable villain who defies all expectations of a woman's conduct in marriage. The heroine of Lasselia is initially a model of virtue who bravely resists the advances of a king, only to be driven by her passion and desire into an illicit affair with a married man and ultimately into ruin. These two provocative narratives strikingly represent Haywood's extraordinary contribution to the development of the novel.
The Female Pen
Had B.G. MacCarthy's criticism been available, Showalter's A Literature of Their Own would have been a very different kind of book...In some ways, contemporary could be ten years ahead if we had started the climb from MacCarthy's groundwork." —Maggie Humm, University of East London Back in print for the first time since the 1940's, this classic work of pre-feminist literary criticism is a challenging and authoritative assessment of women's contributions to English literature. B. G. MacCarthy, widely praised for the originality of her scholarship, challenges the dominant picture of mascaline literary history created by T. S. Eliot and F. R. Leavis. Written with crisp humor and irony, her exploration of women's writing. Focusing on a wide range of authors including Lady Mary Wroath, Eliza Hayward, Aphra Behn, Maria Edgeworth, Mary Wollstonecraft, Elizabeth Inchbald, Margaret Cavendish and Jane Austen- illustrates that these women attempted almost every genre of fiction, enriched many, and initiated some of the most important. Often savagely witty, The Female Pen discusses a vast array of fictional forms, including picturesque, moralistic, oriental, domestic, and gothic novels.
The Injur'd Husband, Or
" The scheming, sexually predatory anti-heroine of The Injur'd Husband is a memorable villain who defies all expectations of a woman's conduct in marriage. The heroine of Lasselia is initially a model of virtue who bravely resists the advances of a king, only to be driven by her passion and desire into an illicit affair with a married man and ultimately into ruin. Eliza Haywood (1693?-1756) was one of the first women in England to earn a living writing fiction. Her early tales of amorous intrigue, sometimes based on real people, were exceedingly popular though controversial. Haywood, along with her contemporary Daniel Defoe, did more than any other writer to create a market for fiction in the period just prior to the emergence of Samuel Richardson, Henry Fielding, and Tobias Smollett, the dominant novelists of the mid-eighteenth century.
The Passionate Fictions of Eliza Haywood
The most prolific woman writer of the eighteenth century, Eliza Haywood (1693-1756?) was a key player in the history of the English novel. Along with her contemporary Defoe, she did more than any other writer to create a market for fiction prior to the emergence of Richardson, Fielding, and Smollett. Also one of Augustan England's most popular authors, Haywood came to fame in 1719 with the publication of her first novel, Love in Excess. In addition to writing fiction, she was a playwright, translator, bookseller, actress, theater critic, and editor of The Female Spectator , the first English periodical written by women for women. Though tremendously popular, her novels and plays from the 172...
Early American Women Critics
Early American Women Critics demonstrates that performances of various kinds - religious, political and cultural - enabled women to enter the human rights debates that roiled the American colonies and young republic. Black and white women staked their claims on American citizenship through disparate performances of spirit possession, patriotism, poetic and theatrical production. They protected themselves within various shields which allowed them to speak openly while keeping the individual basis of their identities invisible. Cima shows that between the First and Second Great Religious Awakenings (1730s–1830s), women from West Africa, Europe, and various corners of the American colonies self-consciously adopted performance strategies that enabled them to critique American culture and establish their own diverse and contradictory claims on the body politic. This book restores the primacy of religious performances - Christian, Yoruban, Bantu and Muslim - to the study of early American cultural and political histories, revealing that religion and race are inseparable.
Family Fictions
By revealing the investment of eighteenth-century British prose fiction in contemporary debates about domestic ideology, this book addresses the multiple ways in which traditional notions of the family were estranged, reconstituted as novel concepts, and then finally presented as national social norms. It focuses on works by Aphra Behn, Daniel Defoe, Samuel Richardson, Eliza Haywood, Horace Walpole, Laurence Sterne, and Mary Wollstonecraft, addressing a number of narratives that historians of the novel have overlooked while linking such better-known works as Robinson Crusoe and Pamela to their often neglected sequels. Challenging competing critical claims that the household either experience...
English feminists and their opponents in the 1790s
This fascinating book examines what sixteen radical and conservative, famous and notorious British women wrote about their sex in the 1790s. It offers the most comprehensive survey of what they thought about their fellow women with regard to love, sexual desire and marriage; their domestic roles and their engagement in the ‘public’ sphere; and issues of gender and female abilities including sensibility and genius. How contemporary reviewers divided women writers into ‘unsex’d’ and ‘proper’ is investigated, as is the issue of whether they attempted to exclude women from certain kinds of writing. The book reveals the depth of female complaint but contends that women did not passively submit. Conservative and radicals alike sought to extend their sphere of activity, to reform men, challenge gender stereotypes and propose that a woman should be a self for herself and her God rather than for her husband.
Stuart Women Playwrights, 1613-1713
Stuart Women Playwrights, 1613-1713 examines English women writers' tragedies and tragicomedies in the seventeenth century. Through this one-hundred year period, major changes in dramatic form and ideology are traced in women's plays. The study represents a major overhaul of current theories of the evolution of English drama as well as offering an unprecedented reconstruction of the genealogy of seventeenth-century English women playwrights.
