Studies on Voltaire and the eighteenth century最新文献_第4页

British Indians in the Eighteenth Century 十八世纪的英属印第安人

Studies on Voltaire and the eighteenth century Pub Date : 2021-03-01 DOI: 10.1353/ecy.2021.0004

Beth Fowkes Tobin

引用次数: 0

Drawing Insects: John Abbot and the Arts of Noticing 画昆虫:约翰·艾博特和观察的艺术

Studies on Voltaire and the eighteenth century Pub Date : 2021-03-01 DOI: 10.1353/ecy.2021.0010

Beth Fowkes Tobin

{"title":"Drawing Insects: John Abbot and the Arts of Noticing","authors":"Beth Fowkes Tobin","doi":"10.1353/ecy.2021.0010","DOIUrl":"https://doi.org/10.1353/ecy.2021.0010","url":null,"abstract":"Abstract:Enlightenment natural history with its collecting, describing, drawing, cataloging, and classifying of specimens has been critiqued within ecocriticism and environmental studies as naively empiricist, as part of an imperialist project, and as engaged in commoditization of the natural world. However, to brush aside natural history's practices of collection, representation, and classification is to dismiss the possibility that within these practices are ways of noticing the natural world that could contribute much to developing the attentiveness necessary to counter the political and economic forces bent on the unsustainable exploitation and consumption of the natural world. This essay offers the insect drawings of John Abbot (1751-1840) as an example of how the material practices of drawing, even those conjoined to Linnaean systematics, were deeply attentive ways of relating to the natural world. Abbot, an English naturalist artist, drew over 6,000 watercolor drawings of North American birds and insects, the majority of which are single sheet watercolors of moths, wasps, dragonflies, beetles, spiders, and other arthropods. These drawings, designed to aid in the identification and classification of insects, contain traces of Abbot's attentiveness, even respect for the otherness of these non-human subjects. Abbot's entomological portraits possess the hallmarks of the arts of noticing: an intense engagement and visual encounter with a chronically overlooked part of the natural world.","PeriodicalId":82853,"journal":{"name":"Studies on Voltaire and the eighteenth century","volume":"944 1","pages":"105 - 83"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85569101","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}

引用次数: 1

Fictions of Materiality in Clarissa 《克拉丽莎》中的物质性小说

Studies on Voltaire and the eighteenth century Pub Date : 2021-03-01 DOI: 10.1353/ecy.2021.0002

Pichaya Damrongpiwat

引用次数: 0

Dorothy Parsons of Birr: writing, networks, identity, 1640–1670 比尔的多萝西·帕森斯:写作，网络，身份，1640-1670

Studies on Voltaire and the eighteenth century Pub Date : 2021-02-18 DOI: 10.1080/0268117X.2021.1875262

Danielle Clarke

引用次数: 1

Introduction: The Novel as Theory 绪论:作为理论的小说

Studies on Voltaire and the eighteenth century Pub Date : 2020-12-29 DOI: 10.1353/ecy.2020.0011

Kathleen Lubey, Rebecca Tierney-Hynes

引用次数: 0

Colonel Jack's Pocket: Subjectivity, Money, and Metaphor 《杰克上校的口袋:主体性、金钱与隐喻

Studies on Voltaire and the eighteenth century Pub Date : 2020-12-29 DOI: 10.1353/ecy.2020.0017

Peter Degabriele

{"title":"Colonel Jack's Pocket: Subjectivity, Money, and Metaphor","authors":"Peter Degabriele","doi":"10.1353/ecy.2020.0017","DOIUrl":"https://doi.org/10.1353/ecy.2020.0017","url":null,"abstract":"Abstract:This article argues that Daniel Defoe's Colonel Jack theorizes that subjectivity is a result of the process of generalization characteristic of both metaphor and money. It thus challenges the association of Defoe's novels with an individualism that would take priority over the general. It locates Defoe's contribution to the form of the novel in the specific way he explores the odd and improper contact between the literal and the figural. In the novel, Jack repeatedly makes himself into a literal instance of proverbial sayings and, in doing so, identifies his subjectivity with the moment he enters into a general economy. The article compares this connection of the literal and the figural to the way debates about money in the eighteenth century discussed the split between the material substance of money and its general symbolic form. By reading Defoe's novel with John Locke's contributions to the debate about recoinage from the late seventeenth century, as well as at his discussion of money in the Two Treatises on Government, this article argues that Defoe theorizes money as something that does not mix with bodies (as Locke would have it), but instead transports subjects beyond their own bodily propriety. Defoe's novel is theory, the article argues, because it contests Locke's account of money and because it develops an account of subjectivity through its formal exploration of metaphor and the relation between the literal and the figurative.","PeriodicalId":82853,"journal":{"name":"Studies on Voltaire and the eighteenth century","volume":"14 1","pages":"245 - 261"},"PeriodicalIF":0.0,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81559171","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}

引用次数: 0

The Vicar and the Sovereign: Monarchism in Oliver Goldsmith's The Vicar of Wakefield 牧师与君主:奥利弗·戈德史密斯的《韦克菲尔德牧师》中的君主主义

Studies on Voltaire and the eighteenth century Pub Date : 2020-12-29 DOI: 10.1353/ecy.2020.0014

W. Lee

{"title":"The Vicar and the Sovereign: Monarchism in Oliver Goldsmith's The Vicar of Wakefield","authors":"W. Lee","doi":"10.1353/ecy.2020.0014","DOIUrl":"https://doi.org/10.1353/ecy.2020.0014","url":null,"abstract":"Abstract:This essay reevaluates the narrative failings of Oliver Goldsmith's only novel, The Vicar of Wakefield (1766), through its idiosyncratic defense of monarchism. I argue that the text's grim scene of abandonment—flagged in the very meaning of \"vicar\" as substitute or stand-in—returns us to the collapse of commonwealth in Thomas Hobbes's Leviathan (1651) and its signature world without a sovereign. Through a comparative textual analysis that also draws on contemporary and Enlightenment political theories, I argue that the rupture of civil society envisioned by the two writers takes place not between subjects and their ruler but among subjects themselves—a crucial distinction under-recognized in recent theorizations of sovereign power. A century after Leviathan, Goldsmith re-engages Hobbes's claims that \"[t]o make Covenant with God, is impossible\" and exposes how a broken social compact, especially between the rich and the poor, creates systemic injustice: mass incarceration, bloated legal institutions, and a culture of avarice. In pairing the eighteenth-century writer with the early-modern philosopher, I draw out their shared concerns over the tenuousness of social relations in a competitive market society and the inescapability of human corruption in any form of the state. This essay's return to Hobbes contributes to an ongoing reevaluation of sentimental literature's dubious constructions of sympathy emergent from the English civil war. It also explores the persistence of allegory in novelistic characterization.","PeriodicalId":82853,"journal":{"name":"Studies on Voltaire and the eighteenth century","volume":"36 1","pages":"187 - 206"},"PeriodicalIF":0.0,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86256992","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}

引用次数: 0

Evelina's Laughter: The Novel's Queerer Theories 《伊芙琳娜的笑声:小说中的酷儿理论

Studies on Voltaire and the eighteenth century Pub Date : 2020-12-29 DOI: 10.1353/ecy.2020.0013

Eugenia Zuroski

{"title":"Evelina's Laughter: The Novel's Queerer Theories","authors":"Eugenia Zuroski","doi":"10.1353/ecy.2020.0013","DOIUrl":"https://doi.org/10.1353/ecy.2020.0013","url":null,"abstract":"Abstract:This article present a \"perverse\" reading of the laughing body in Evelina that shows how Burney's novel imagines queer modes of embodiment and relation in order to disavow them through the marriage plot. When what James Beattie called \"animal laughter\" erupts from Evelina in response to Mr. Lovel, epistolary selfhood gives way to what Daniel Cottom describes as the \"topology of the orifice.\" Putting the person of Evelina back into her body in its least dignified moments steals her, momentarily, from the prospect of becoming socially legible through marriage and makes her available instead to forms of queer fellowship that the novel compels her to refute. What if, I ask, Evelina didn't reflexively refuse such relations? What if being both an object and host of queer pleasure and friendship were something she could imagine her own body being for? The novel doesn't endorse any of these possibilities, but it must theorize them because its marriage plot is premised on the threat of what Lauren Berlant and Lee Edelman call \"the unbearable.\" Drawing on Adam Phillips, I propose a \"tickling\" mode of reading novels like Evelina as a non-violent method for thrumming the structures of feeling attached to the novel's latent humors and coaxing out the unsanctioned pleasures and possibilities the novel itself cannot bear.","PeriodicalId":82853,"journal":{"name":"Studies on Voltaire and the eighteenth century","volume":"8 1","pages":"165 - 186"},"PeriodicalIF":0.0,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89258558","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}

引用次数: 3

Hannah More's Clockwork Christians 汉娜·莫尔的发条基督徒

Studies on Voltaire and the eighteenth century Pub Date : 2020-12-29 DOI: 10.1353/ecy.2020.0015

Sara Landreth

引用次数: 0

The Novel Is a Theory of Allegory 小说是一种寓言理论

Studies on Voltaire and the eighteenth century Pub Date : 2020-12-29 DOI: 10.1353/ecy.2020.0018

Sandra Macpherson

{"title":"The Novel Is a Theory of Allegory","authors":"Sandra Macpherson","doi":"10.1353/ecy.2020.0018","DOIUrl":"https://doi.org/10.1353/ecy.2020.0018","url":null,"abstract":"Abstract:Abstract: This essay approaches the eighteenth-century novel via debates in twentieth century theories of representationalism. At the core of these debates is a critical genealogy stemming from Michael Fried's \"Art and Objecthood\" (1967), one whose commitments are most powerfully on display in Steven Knapp's neglected Personification and the Sublime and its transformation of the anxiety about literalist art into an anxiety about allegory. What made eighteenth-century writers uncomfortable about Miltonic allegory, says Knapp, was its literalism; and thus the category of \"literature\" came to be defined by its power to defeat allegorical personhood. Angus Fletcher had made a similar claim about the realist novel in Allegory: Theory of a Symbolic Mode (1964). For Robbe-Grillet, however—whose Pour un nouveau roman precedes \"Art and Objecthood\" by four years, anticipating Fried's claims but on behalf of objecthood—the realist novel's attention to detail is the apotheosis of allegorical literalism. This is how and why Kafka is a realist. It is also, I argue, the realism of Jane Austen. Zadie Smith influentially sketches out two paths for the novel, with Robbe-Grillet and Austen moving along vectors that will never meet. But there is only one path for the novel.","PeriodicalId":82853,"journal":{"name":"Studies on Voltaire and the eighteenth century","volume":"20 1","pages":"263 - 279"},"PeriodicalIF":0.0,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81484300","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}

引用次数: 0