ABO Interactive Journal for Women in the Arts 16401830最新文献

{"title":"Review of Novel Ventures: Fiction and Print Culture in England, 1690-1730 by Leah Orr","authors":"Susannah Sanford","doi":"10.5038/2157-7129.9.2.1205","DOIUrl":"https://doi.org/10.5038/2157-7129.9.2.1205","url":null,"abstract":"A review of Novel Ventures: Fiction and Print Culture in England, 1690-1730 by Leah Orr by Susannah Sanford Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License This reviews is available in ABO: Interactive Journal for Women in the Arts, 1640-1830: https://scholarcommons.usf.edu/abo/vol9/iss2/6 Orr, Leah. Novel Ventures: Fiction and Print Culture in England, 1690-1730, University of Virginia Press, 2017. 336 pp. ISBN: 978-0-8139-4013-7. Reviewed by Susannah Sanford Texas Christian University Leah Orr’s book, Novel Ventures: Fiction and Print Culture in England, 1690-1730, surveys nearly five hundred fiction texts of the early eighteenth century, using digital archives to compile “facts about print culture and book history” (14-15). Her masses of data provide a narrative of the development of the novel in the early eighteenth century that eschews the usual metaphorical crutches. Orr uses digital archives and a commitment to read every fictional work of her fortyyear time period—not just the heavy hitters and chart-toppers—to move away from the restraint of “rising” novel narratives such as those of Ian Watt or Michael McKeon. Orr’s data-driven examination of printed fiction argues publishers had a more significant role in the development of fiction and the novel than scholars of book history and the early novel have previously assumed. The book is divided into two parts. In the first part, Orr tackles “Fiction in the Print Culture World,” focusing on the definition of the novel, the book trade as an industry, and authorship. She argues “booksellers published what they believed would sell, and in this period they exerted far greater influence on the development of fiction than did individual authors or acts of creative genius” (5). Investigating the balance of art versus industry, Orr revisits the definition of the novel; she believes we are constrained by our twentieth-century ideas of form. To combat our “warped view” of early eighteenth-century fiction (9), Orr “read the nearly five hundred separate works of fiction printed in England between 1690 and 1730” (4) compiling data on form, authorship, length, title pages, and publishing labels. Orr displays her data in easily consumed tables, and these are a clear strength of her book. One chart in the first chapter, for example, counts the number of title pages that identify a work of fiction as a particular genre. The largest portion of texts are called “novels,” followed closely by fictional works labeled “history.” The difference between the two categories is only six texts. Orr moves methodically through her study of early print fiction, organizing and reorganizing data based on categories such as printer, time, genre, title, length, and paper quality. The second and third chapters of Novel Ventures tackle the book trade and authorship, respectively. In the second chapter, “Fiction and the Book Trade,” Orr demonstrates the limited scope of","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"26 1","pages":"6"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82833782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“The Tranquility of a Society of Females”: Mary Morgan’s A Tour to Milford Haven, Elizabeth Montagu, and the Transformative Politics of Female Governance","authors":"Van Netten Blimke, J. Linda","doi":"10.5038/2157-7129.9.2.1194","DOIUrl":"https://doi.org/10.5038/2157-7129.9.2.1194","url":null,"abstract":"This paper explores the political function of Elizabeth Montagu’s Berkshire estate in travel writer Mary Morgan’s 1795 publication A Tour to Milford Haven, in the Year 1791. The travelogue is politically invested both in problematizing radical ideologies and the British government’s wartime policies and in providing an alternative model of governance based on the relational leadership found within Montagu’s Sandleford community. Of central importance to Morgan’s political argument is the contrast she creates between the socioeconomic philosophies manifest in Montagu’s perfectly ordered estate in Berkshire and in the Duke of Marlborough’s imposing palace in Oxfordshire. Whereas Montagu’s relational approach to leadership results in a profoundly peaceful and productive community bound by loyalty rather than by fear, the Duke of Marlborough’s authoritarian approach to power ultimately creates detachment and engenders disillusionment. Her juxtaposition of the two estates subtly suggests both the need and a plan for the reform of Britain’s leadership and political practices that incorporates the communitarian principles modeled in Montagu’s community.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83536534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Strength of Weak Ties: Eliza Haywood’s Social Network in The Dunciad in Four Books (1743)","authors":"Ileana Baird","doi":"10.5038/2157-7129.9.2.1202","DOIUrl":"https://doi.org/10.5038/2157-7129.9.2.1202","url":null,"abstract":"This article uses visualizations of Eliza Haywood’s social networks, as described in The Dunciad in Four Books (1743), to make visible her relations with the other characters in the poem, and the nature of these affiliations. The tools used to generate these visualizations are GraphViz, an open source visualization software that creates topological graphs from sets of dyadic relations, and SHIVA Graph, an application used to visualize large sets of networks and navigate through them as through a map. In Eliza Haywood’s case, this model of social network analysis sheds new light on the nature of Pope’s attack on women writers and on the role Pope assigned to the novelist in the cultural space of early eighteenth-century London. These social graphs also make visible the poem’s main “connectors,” and its “hall of infamy” (i.e., the seventeen characters that seep into all the networks of the poem). By focusing attention on less dense clusters of relations, this model of social network analysis highlights what Mark Granovetter calls “the strength of weak ties,” or the role played by peripheral characters within the poem's plot network.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86682726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A review of Annika Mann, Reading Contagion, by Michael Edson","authors":"Michael Edson","doi":"10.5038/2157-7129.9.2.1225","DOIUrl":"https://doi.org/10.5038/2157-7129.9.2.1225","url":null,"abstract":"A review of Annika Mann, Reading Contagion, by Michael Edson Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License This reviews is available in ABO: Interactive Journal for Women in the Arts, 1640-1830: https://scholarcommons.usf.edu/abo/vol9/iss2/7 Annika Mann. Reading Contagion: The Hazards of Reading in the Age of Print. University of Virginia Press, 2018. xi + 257pp. ISBN: 9780813941776. Reviewed by Michael Edson University of Wyoming That many eighteenth-century writers blamed the increase in print for fanning a fever of reading that endangered youth, women, and servants will be old news for scholars. The ubiquity of the language of disease around books and reading after 1700 may be easily dismissed as part of the metaphorical background noise of the time. In Reading Contagion, Annika Mann considers anew the significance of the contagion imagery in eighteenthand early nineteenth-century writing about print. For Mann, such language betokens not merely new ideas in medicine enabling a view of reading as “contagious” like disease. Such language in fact marks the arrival of a whole new “theory of reading” that persists, under various guises, into the Victorian age. Per this theory, reading involves “infectious contact with passions and material particulates,” contact transforming readers in ways that “cannot be controlled” (3–4). In warning against this contagiousness, Mann argues, writers of the time reveal how texts not only “absorb and transmit contagion as they circulate” among readers but also “create embodied collectives and produce large-scale epidemics” (4). As all this implies, Mann’s study focuses especially on those times when textual “contagion” proves no longer merely metaphoric, when figural plague turns material: when books spread real pestilence, when bodies convulse into collective action. Drawing on recent work in new materialism and posthumanism, Mann reveals “reading contagion” as the flipside of the sentimentalist celebration of passionate identification, of the spread or exchange of passions as healthful to both individuals and the community. As a “counterdiscourse” to this sentimentalist model, reading contagion puts the premise of sentimentalism negatively (13). Books and reading do occasion the involuntary spreading of passions and forming of collectives, but both are dangerous and should be avoided. Mann characterizes reading contagion as “a lastditch” effort by neoclassicists to retain “control over print publication” and as “a rearguard attempt” by cultural conservatives “to reestablish proper social and textual hierarchies” by making reading look hazardous (14). Most basically, Reading Contagion traces this reaction, analyzing writers—Daniel Defoe, Alexander Pope, Tobias Smollett, Edmund Burke, and Samuel Taylor Coleridge—who rejected reading as other than a controlled, bloodless encounter with ideas. What was at stake? To acknowledge reading to involve somatic ","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"74 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81118014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Societal Polyphony in Burney and Austen: Using Digital Tools to Invite Students into the Conversation","authors":"Beth L Williamson","doi":"10.5038/2157-7129.9.2.1200","DOIUrl":"https://doi.org/10.5038/2157-7129.9.2.1200","url":null,"abstract":"How can we invite our students to experience the social wit and wisdom of the eighteenth-century novel, on an interactive level? Addressing challenges faced by those who teach eighteenth-century novels in General Education surveys or seminar classes, this essay offers two lesson plans--easily adapted for different texts and courses--that use digital technology to engage students' imaginations and cultivate skills of reading comprehension and interpretation. The first, \"Evelina Tweet Fest,\" invites students to participate in a collaborative conversation on a simulated Twitter platform, translating the literary polyphony of Frances Burney's epistolary novel into the language of our own, status-conscious milieu. The second, \"Pride and Prejudice meets Myers-Briggs,\" taps into student interest in online personality quizzes and asks them to use Austen's textual clues to explain character quirks and relational dynamics.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"365 1","pages":"3"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77837751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review of Margaret Cavendish’s Poems and Fancies","authors":"James Fitzmaurice","doi":"10.5038/2157-7129.9.2.1223","DOIUrl":"https://doi.org/10.5038/2157-7129.9.2.1223","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"18 1","pages":"5"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83383891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eighteenth-Century Camp Introduction","authors":"Ula Lukszo Klein, Emily M. Kugler","doi":"10.5038/2157-7129.9.1.1180","DOIUrl":"https://doi.org/10.5038/2157-7129.9.1.1180","url":null,"abstract":"A blend of the silly and the extravagant that puts the serious into conversation with the ridiculous, camp today is often signified by elements of eighteenth-century Europe with its elaborate hairstyles, exaggerated silhouettes, affected courtiers, and a rise in the consumption of exotic goods, candelabras, masks, and other markers of elite excess (often with a nod to the era’s demise in the form of either the French Revolution or subsequent Victorian strictures). Camp’s relation to queer modes of performance and its prioritization of style over (or in conjunction with) substance offers a queer aesthetic lens to re-evaluate the eighteenth century and the current moment. In this special issue on “camp” and/in the long eighteenth century, we hold that this is not just a twentieth-century reference to an imagined past, but a concept that indeed does have its roots in eighteenth-century Europe. It is also a concept deeply rooted in constructions of gender and, whether implicitly or explicitly, a vital element in the lives of long eighteenth-century female artists, writers, and thinkers. This critical introduction to our special issue on eighteenth-century camp argues why eighteenthcentury camp is a concept both timely and necessary to eighteenth-century studies, and what these individual essays, and this issue as a whole, contribute to our understanding of the eighteenth century, aesthetics, politics, gender, and sexuality.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81951265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sterne’s Sentimental Temptations: Sex, Sensibility, and the Uses of Camp","authors":"Julie Beaulieu","doi":"10.5038/2157-7129.9.1.1173","DOIUrl":"https://doi.org/10.5038/2157-7129.9.1.1173","url":null,"abstract":"Laurence Sterne’s lack of commitment to the tenets of sentimentality in A Sentimental Journey—present in his ability to mock and praise the individual capacity to feel, and more precisely, in his satirical reading of the “cult of sensibility,” the new ideological imperative to have and to showcase deep, sentimental feelings—remains as one of the central challenges for readings of the novel. To explore Sterne’s portrayal of sensibility in A Sentimental Journey, I turn to camp sensibility, and the discussions that followed Susan Sontag’s “Notes on Camp.” Sterne’s novel could be read as camp, perhaps most notably in his blending of the high and the low, but my purpose here is to raise questions about our attachments to camp sensibility, and more specifically, our attachments to camp sensibility as a gay sensibility, via Sterne’s representation of bourgeois subjectivity in the novel. Queer sensibilities provide marginalized people with a collective “essence”—a shared belief in a fundamental nature that separates and elevates members of the group. In a similar way, Yorick’s sensibility—and the performance of sentiment in eighteenth-century fiction more broadly—provides a new measure for class, conduct, and identity. I argue that the slow shift from blood to conduct as an index of value ushered in not only an increased demand for self-discipline but also the injunction to examine one’s feelings. Sensibility—a quality that signals a keen awareness of affect that demonstrates character—shows how power functions through feelings. Sterne’s representation of the sensible man’s submerged sexual desire demonstrates how the cult of sensibility both defined and restrained those aspiring to meet the demands of new definitions of respectability.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82374291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Representing Camp: Constructing Macaroni Masculinity in Eighteenth-Century Visual Satire","authors":"Freya Gowrley","doi":"10.5038/2157-7129.9.1.1171","DOIUrl":"https://doi.org/10.5038/2157-7129.9.1.1171","url":null,"abstract":"This article asks how ‘Camp,’ as defined in Sontag’s 1964 essay, ‘Notes on Camp,’ might provide a valuable framework for the analysis of late eighteenth-century satirical prints, specifically those featuring images of the so-called ‘macaroni.’ Discussing a number of satirical prints and contemporary writings on the macaroni, the article reads them against Sontag’s text in order to establish its utility as a critical framework for understanding the images’ complex relationship of content, form, and function.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84100132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Neoclassicism and Camp in Sir William Hamilton’s Naples","authors":"Ersy Contogouris","doi":"10.5038/2157-7129.9.1.1176","DOIUrl":"https://doi.org/10.5038/2157-7129.9.1.1176","url":null,"abstract":"Susan Sontag, in her now-classic “Notes on Camp” (1964), traces the origins of camp to the eighteenth century (13, 14, 33). And although it is precisely the baroque and rococo art movements against which Winckelmann rebelled that Sontag identifies as camp, it is worth reflecting on whether the notion of imitation that is central to both movements – imitation of ancient works in the case of neoclassicism, and imitation as parody in the case of camp (Meyer 7) – might not bring the two closer. Once the conceptual chasm separating neoclassicism and camp has begun to be bridged, we can push our enquiry further and ask to what extent camp can be read into the neoclassical movement. The endeavour might seem anachronistic since the word “camp” only made its appearance in the English dictionary at the beginning of the twentieth century. To paraphrase the English literature scholar Devoney Looser in her study of “Jane Austen Camp,” I am not asking if camp is “there” in the development of neoclassicism. What I am doing is asking what aspects of neoclassicism (if any) can be read differently if we look at this moment through a campy lens. To do so, I propose to consider two series of spectacles that Sir William Hamilton, the British ambassador to Naples from 1764 to 1800, presented to his guests, the many European aristocrats, diplomats, Grand Tourists, artists, and other travellers who made their way to Naples in their search for the unique classical experience provided by a visit to Pompeii and Herculaneum. One was of his wife Emma Hamilton’s famous Attitudes; the other was the less well-known display he organized of adolescent boys splashing in the waters in what might be thought to have approximated ancient gymnopaedias.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"76 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80743111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}