A. Lincoln, J. Richardson, Mary A. Favret, A. Vickery, Anne M. Thell, Thomas Keymer, M. Rabb, Ala Alryyes, L. Mugglestone, Neil Ramsey
{"title":"Anna Barbauld and Charlotte Smith on War and Acquiescence","authors":"A. Lincoln, J. Richardson, Mary A. Favret, A. Vickery, Anne M. Thell, Thomas Keymer, M. Rabb, Ala Alryyes, L. Mugglestone, Neil Ramsey","doi":"10.1215/00982601-8718688","DOIUrl":"https://doi.org/10.1215/00982601-8718688","url":null,"abstract":"Abstract:This essay considers works published by two women writers as Britain was preparing for hostilities against revolutionary France in 1793: a Fast Day sermon, Sins of Government, Sins of the Nation, published anonymously by Anna Barbauld, Charlotte Smith's novel The Old Manor House, and her blank verse poem The Emigrants. It considers how these works, which condemn the guilt arising from war, expose the problem of necessary acquiescence in what is condemned. Taken together, the writings illuminate two sides of the problem. As a Dissenter, Barbauld belonged to a social group that, during the early years of the French revolution, had reason to feel especially vulnerable to the threat of civil disorder; she therefore had a particular incentive to see the horrors of war abroad in relation to the fear of social unrest at home. For Smith, who identified herself publicly with the landowning classes, and who desired socially appropriate positions for her children, such horrors had to be set against the material opportunities made available by war. In both cases the representation of sympathy for the victims of war provides a way out of the moral impasse they encounter.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"5 1","pages":"1 - 118 - 119 - 139 - 140 - 159 - 160 - 164 - 165 - 191 - 29 - 30 - 50 - 51 - 7 - 74 - 75 - 8 - 95 -"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82218205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Private Sublime in Public Discourse: War Poetry of the American Revolution","authors":"J. Richardson","doi":"10.1215/00982601-8718699","DOIUrl":"https://doi.org/10.1215/00982601-8718699","url":null,"abstract":"Abstract:This essay examines how poetry of the American Revolution contributed to the broader tradition of Anglophone war poetry through the \"private sublime,\" which would start as a minor and relatively unknown development, but eventually become one of the primary modes of depicting war, both in the later eighteenth century and the present day. It focuses specifically on two poets who formulated the private sublime: Freneau in the 1781 British Prison-Ship and Ann Eliza Bleecker in the poems that she wrote after her daughter's death in 1777. While Freneau's poetry emphasizes terror and beauty, Bleecker fashions a private sublime by aligning her own suffering with that of war combatants. This essay then turns briefly to Charlotte Smith, who depicts distant war via her own intense and highly aestheticized emotions. As Smith demonstrates, then, the private sublime emerged in the poetry of authors with direct experience of war in America, but was later adapted by a wide range of authors who experienced war at a far greater distance.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"59 1","pages":"140 - 159"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73610697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Defoe's Robinson Crusoe: \"Maps,\" Natural Law, and the Enemy","authors":"Ala Alryyes","doi":"10.1215/00982601-8718655","DOIUrl":"https://doi.org/10.1215/00982601-8718655","url":null,"abstract":"Abstract:Although it may appear that geography is distinguished by an objective, neutral subject, a genealogy of geographical knowledge reveals that seventeenth- and eighteenth-century European polemics over the demarcations and legal representations of space were imbued with polemos itself, war and conflict. In this article, I examine the polemical nature of Robinson Crusoe's spatial experience and constructions, maritime and insular. Most readers know Defoe's Robinson Crusoe for the shipwreck and the island. This sells short the novel's formal spatial design, which contrasts its hero's early mobility with his subsequent settlement(s), while concurrently encoding ideas about law, enmity, and sovereignty into geographic constructions. In Defoe's space, theory and practice of empire are intermeshed. As I shall argue, Defoe's representations of his hero's achievements—both Crusoe's astute seafaring and his later claims to sovereignty and possession of \"his\" island—build on extraliterary systems of knowledge in which war offers blueprints for grasping colonial encounters and global space. Defoe exploits two related imperial geographical discourses, natural law (and its derivative the Law of Nations, forerunner of today's International Law and Law of War), and cartography, drawing on them for both verisimilar and fantastical representations in his novel.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"90 1","pages":"51 - 74"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73616520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Extra-Illustration and Ephemera","authors":"Luisa Calé","doi":"10.1215/00982601-8218624","DOIUrl":"https://doi.org/10.1215/00982601-8218624","url":null,"abstract":"In ‘A Friendly Gathering: The Social Politics of Presentation Books and their Extra-Illustration in Horace Walpole’s Circle’, Lucy Peltz plays with the technical and metaphorical senses of ‘gathering’ to reflect on the materiality and sociability of altered books in the Strawberry Hill set. The practice of extra-illustration consisted in disbinding the book, cutting loose the gatherings of leaves that make up its quires, in order to interleave them with additional pages, or to inlay each page into windows cut through larger sized paper. The process is captured in Walpole’s Correspondence: ‘Mr Bull is honouring me, at least my Anecdotes of Painting, exceedingly. He has let every page into a pompous sheet, and is adding every print of portrait, building, etc., that I mention and that he can get, and specimens of all our engravers. It will make eight magnificent folios, and be a most valuable body of our arts.’ Specimens collected and collated with the text anchor, document, and illustrated the words on the page. As a result, an identical multiple within a print run was turned into a unique object. Through the art of extra-illustration the extra-illustrator Richard Bull ‘erected for himself a monument of taste’. \u0000In its monumentalizing aims and dimensions, extra-illustration could be considered an antidote against ephemera; yet transience is inherent to its attempt to document the text with reproductions that might secure a virtual survival on the page against the referents’ future dispersal. The concept of ephemera is refracted through a rich lexicon, which punctuates Walpole’s paratexts – from his title Fugitive Pieces in Verse and Prose (1758), which he presents as ‘trifles’ and ‘idlenesses’, to his ‘diminutive’ house ‘a paper Fabric and an assemblage of curious Trifles, made by an insignificant Man’. In this essay I will read the practice of extra-illustration against its grain to recuperate the ephemeral side of ‘the pompous sheet’, the composite object disbound from its gatherings, and alternative forms of the page as a detached piece, a scrap, a caption appended to objects in the house. I will focus my discussion on two complementary book collections produced by Richard Bull: his extra-illustrated copy of Walpole’s Description of Strawberry Hill, now at the Lewis Walpole Library, and his curious compilation of occasional publications bound with the title-page A Collection of all the loose pieces printed at Strawberry-Hill, and the alternative title Detached Pieces Printed at Strawberry Hill, now at the Huntington Library.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"48 1","pages":"111-135"},"PeriodicalIF":0.1,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75254402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lively Effigies","authors":"Margaret J. M. Ezell","doi":"10.1215/00982601-8218635","DOIUrl":"https://doi.org/10.1215/00982601-8218635","url":null,"abstract":"This article will explore the function of printed “effigies” in the second half of the seventeenth century. The title is taken from Samuel Clarke’s frequently reprinted and enlarged compendium, The Marrow of Ecclesiastical Historie, conteined in the Lives of the Fathers, and other Learned Men, and Famous Divines, . . . Together with the Livelie Effigies of most of the Eminentest of them cut in Copper. The term “effigy” is a Janus word, meaning both a representation of a specific deceased individual as a celebratory memorial marker, and as a hated figure intended to be destroyed, such as Guy Fawkes. The article will examine what ways effigial images found in broadsides and books lay claim to the reader or viewer’s attention, and explore how are they used to communicate complex meanings about memory and erasure, even in inexpensive ephemeral publications.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"84 1","pages":"136-157"},"PeriodicalIF":0.1,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83968661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Transcendent Ephemera","authors":"Dianne Dugaw","doi":"10.1215/00982601-8218591","DOIUrl":"https://doi.org/10.1215/00982601-8218591","url":null,"abstract":"This essay considers our response to printed ephemera, analyzing British examples of the seventeenth and eighteenth centuries, specifically elegies, broadside ballads, and the life story and advertised theatrical performing of the eighteenth-century female soldier Hannah Snell, using methods from folklore, musicology, and literary study. The formats of the ephemera, and their performative modes seemingly identify these expressions as impermanent; at the same time, examining them collectively, we recognize an ironic gesture for lasting universal human sentiment and meaning. The ubiquitousness of these recurring forms, conjoined with resistance to scholarly theorizing of expression popular across social ranks, leaves their conventions and parameters understudied and deserving of more exploration and analysis. As the psalmist observed, humans feel ourselves to be walking on a fleeting path. Ephemera speak to and from this experience of precarious temporality with a paradoxical coupling between representations of topical particularities on the one hand, and, on the other, oft-repeated patterns that invoke and formulaically echo a collective past.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"314 1","pages":"17-42"},"PeriodicalIF":0.1,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75239579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ephemeral Spenser","authors":"Sandro Jung","doi":"10.1215/00982601-8218613","DOIUrl":"https://doi.org/10.1215/00982601-8218613","url":null,"abstract":"This essay approaches Edmund Spenser’s Renaissance masterpiece, The Faerie Queene, through a hitherto unknown series of twenty-four vignette illustrations that the eighteenth-century painter and book illustrator, Thomas Stothard, contributed to the nowadays little-known annual, The Royal Engagement Pocket Atlas, in 1794. Apart from making sense of Stothard’s visual interpretation of Spenser’s romance, the article will pay attention to how the painter creates an anthological miniature gallery of moments with which the users of the pocket diary may have been familiar. In other words, these vignettes may have conveyed mnemonically a prior reading experience of The Faerie Queene or have stimulated recall of other engagements with the moments represented. Understanding Stothard’s illustrations as iconic interventions in the reception history of Spenser’s work that, by being included in a disposable, annual pocket diary, were significantly more ephemeral than illustrations issued as part of an edition, I shall investigate how Stothard mediates the text by providing textual excerpts and how these one-line cues evoke a particular allusive experience of the text that affects the reading experience.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"82 1","pages":"78-110"},"PeriodicalIF":0.1,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83765378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Marshall, Michael Edson, B. Keegan, K. Wandschneider, L. Bertelsen, J. Richardson, Catherine Fleming, Andrew Rudd
{"title":"Dynastic Uncertainty: Queen Anne Takes the Throne","authors":"A. Marshall, Michael Edson, B. Keegan, K. Wandschneider, L. Bertelsen, J. Richardson, Catherine Fleming, Andrew Rudd","doi":"10.1215/00982601-7993666","DOIUrl":"https://doi.org/10.1215/00982601-7993666","url":null,"abstract":"Abstract:The first descriptions of Hawaiian surfing were written by David Samwell, surgeon of HMS Discovery, and James King, second lieutenant of HMS Resolution, in the months bracketing Captain James Cook’s death at Kealakekua Bay on 14 February 1779. In his journal entry for 22 January, Samwell described Hawaiians surfing six- to seven-foot “alaias” on the “great swell rolling into the Bay,” and in March 1779, King recorded his version of the same event, but neither text was published until 1967. In 1784, King published a significantly revised and expanded version of the scene in the third volume of the official history, A Voyage to the Pacific Ocean. This skewed chronology has led to some disorientation among historians of surfing, while historians of Cook’s voyages, for the most part, have neglected the surfing episodes altogether. In this essay, I address the descriptions in four interrelated contexts: (1) the history of the texts themselves; (2) their importance to the history of surfing; (3) the significance of the swell occurring during the Makahiki festival; and (4) the emotional and metaphorical impact of the scene on Western observers/writers schooled in the politics of the sublime. In the final two contexts, I suggest the metaphorical and material relationship of the scenes to King’s famous description of Cook’s death in A Voyage to the Pacific Ocean and to Samwell’s equally famous response in A Narrative of the Death of Captain Cook (1786).","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"29 1","pages":"1 - 103 - 104 - 112 - 113 - 118 - 119 - 122 - 26 - 27 - 48 - 49 - 73 - 74 - 97 - 98"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83521890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Knights Errant of the Distressed: Horace Walpole, Thomas Chatterton, and Eighteenth-Century Charitable Culture","authors":"Andrew Rudd","doi":"10.1215/00982601-7993655","DOIUrl":"https://doi.org/10.1215/00982601-7993655","url":null,"abstract":"Abstract:In this article, I examine how notions of charity shaped eighteenth-century literature. I begin by examining Horace Walpole’s philanthropy, which I argue belied his posthumous reputation for miserliness, and proceed to trace the theme of charity in Walpole’s The Castle of Otranto (1764), looking closely at the role of St. Nicholas, patron saint of gift-giving, who intervenes at crucial moments in the plot. I then reexamine Chatterton’s approach to Walpole in 1769 seeking patronage for his pseudo-medieval “Rowley” poems. Walpole’s infamous rejection stemmed in large part, I suggest, from his view that Chatterton, as a paid apprentice, was simply not entitled to a handout. Chatterton disagreed. A major revaluation of Chatterton’s “Rowley” poem, “An Excelente Balade of Charitie” (1769), follows. The poem, traditionally seen as a cry of despair, should rather be understood as a vigorous, indignantly satirical reworking of the Good Samaritan parable at Walpole’s expense. I conclude with reflections on how Walpole and Chatterton’s disagreement affected later ideas of charity for impoverished authors, and on the ways in which individual charitable practices might be said to influence literary form.","PeriodicalId":43296,"journal":{"name":"EIGHTEENTH-CENTURY LIFE","volume":"1 1","pages":"74 - 97"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83515708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
