Catherine Ingrassia – författare

A Companion to the Eighteenth-century Novel furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral contexts. * An up-to-date resource for the study of the eighteenth-century novel * Furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral context * Foregrounds those topics of most historical and political relevance to the twenty-first century * Explores formative influences on the eighteenth-century novel, its engagement with the major issues and philosophies of the period, and its lasting legacy * Covers both traditional themes, such as narrative authority and print culture, and cutting-edge topics, such as globalization, nationhood, technology, and science * Considers both canonical and non-canonical literature

Speculative investment and the popular novel can be seen as analogous in the early eighteenth century in offering new forms of 'paper credit'; and in both, women - who invested enthusiastically in financial schemes, and were significant producers and consumers of novels - played an essential role. Examining women's participation in the South Sea Bubble and the representations of investors and stockjobbers as 'feminized', Catherine Ingrassia discusses the connection between the cultural resistance to speculative finance and hostility to the similarly 'feminized' professional writers that Alexander Pope depicts in The Dunciad. Focusing on Eliza Haywood, and also on her male contemporaries Pope and Samuel Richardson, Ingrassia goes on to illustrate how new financial and fictional models offered important models for women's social, sexual, and economic interaction.

Speculative investment and the popular novel can be seen as analogous in the early eighteenth century in offering new forms of 'paper credit'; and in both, women - who invested enthusiastically in financial schemes, and were significant producers and consumers of novels - played an essential role. Examining women's participation in the South Sea Bubble and the representations of investors and stockjobbers as 'feminized', Catherine Ingrassia discusses the connection between the cultural resistance to speculative finance and hostility to the similarly 'feminized' professional writers that Alexander Pope depicts in The Dunciad. Focusing on Eliza Haywood, and also on her male contemporaries Pope and Samuel Richardson, Ingrassia goes on to illustrate how new financial and fictional models offered important models for women's social, sexual, and economic interaction.

In seventeenth- and eighteenth-century Britain, captivity emerged as a persistent metaphor as well as a material reality. The exercise of power on both an institutional and a personal level created conditions in which those least empowered, particularly women, perceived themselves to be captive subjects. This "domestic captivity" was inextricably connected to England’s systematic enslavement of kidnapped Africans and the wealth accumulation realized from those actions, even as early fictional narratives suppressed or ignored the experience of the enslaved. Domestic Captivity and the British Subject, 1660-1750 explores how captivity informed identity, actions, and human relationships for white British subjects as represented in fictional texts by British authors from the period.This work complicates interpretations of canonical authors such as Aphra Behn, Richard Steele, and Eliza Haywood and asserts the importance of authors such as Penelope Aubin and Edward Kimber. Drawing on the popular press, unpublished personal correspondence, and archival documents, Catherine Ingrassia provides a rich cultural description that situates literary texts from a range of genres within the material world of captivity. Ultimately, the book calls for a reevaluation of how literary texts that code a heretofore undiscussed connection to the slave trade or other types of captivity are understood.

In seventeenth- and eighteenth-century Britain, captivity emerged as a persistent metaphor as well as a material reality. The exercise of power on both an institutional and a personal level created conditions in which those least empowered, particularly women, perceived themselves to be captive subjects. This "domestic captivity" was inextricably connected to England’s systematic enslavement of kidnapped Africans and the wealth accumulation realized from those actions, even as early fictional narratives suppressed or ignored the experience of the enslaved. Domestic Captivity and the British Subject, 1660-1750 explores how captivity informed identity, actions, and human relationships for white British subjects as represented in fictional texts by British authors from the period.This work complicates interpretations of canonical authors such as Aphra Behn, Richard Steele, and Eliza Haywood and asserts the importance of authors such as Penelope Aubin and Edward Kimber. Drawing on the popular press, unpublished personal correspondence, and archival documents, Catherine Ingrassia provides a rich cultural description that situates literary texts from a range of genres within the material world of captivity. Ultimately, the book calls for a reevaluation of how literary texts that code a heretofore undiscussed connection to the slave trade or other types of captivity are understood.

Women writers played a central role in the literature and culture of eighteenth-century Britain. Featuring essays on female writers and genres by leading scholars in the field, this Companion introduces readers to the range, significance and complexity of women's writing across multiple genres in Britain between 1660 and 1789. Divided into two parts, the Companion first discusses women's participation in print culture, featuring essays on topics such as women and popular culture, women as professional writers, women as readers and writers, and place and publication. Additionally, part one explores the ways women writers crossed generic boundaries. The second part contains chapters on many of the key genres in which women wrote including poetry, drama, fiction (early and later), history, the ballad, periodicals, and travel writing. The Companion also provides an introduction surveying the state of the field, an integrated chronology, and a guide to further reading.

Women writers played a central role in the literature and culture of eighteenth-century Britain. Featuring essays on female writers and genres by leading scholars in the field, this Companion introduces readers to the range, significance and complexity of women's writing across multiple genres in Britain between 1660 and 1789. Divided into two parts, the Companion first discusses women's participation in print culture, featuring essays on topics such as women and popular culture, women as professional writers, women as readers and writers, and place and publication. Additionally, part one explores the ways women writers crossed generic boundaries. The second part contains chapters on many of the key genres in which women wrote including poetry, drama, fiction (early and later), history, the ballad, periodicals, and travel writing. The Companion also provides an introduction surveying the state of the field, an integrated chronology, and a guide to further reading.

A Companion to the Eighteenth-century Novel furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral contexts. An up-to-date resource for the study of the eighteenth-century novel Furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral context Foregrounds those topics of most historical and political relevance to the twenty-first century Explores formative influences on the eighteenth-century novel, its engagement with the major issues and philosophies of the period, and its lasting legacy Covers both traditional themes, such as narrative authority and print culture, and cutting-edge topics, such as globalization, nationhood, technology, and science Considers both canonical and non-canonical literature