Elizabeth Neiman - Böcker
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2 produkter
2 produkter
1 883 kr
Skickas inom 10-15 vardagar
What Has Been, originally published in 1801, is an affecting, lively, and accessible read for scholars and students of the long eighteenth century. This critical edition includes an extensive introduction, notes, and appendices. Eliza Kirkham Mathews’ portrait of a struggling female novelist connects and also distinguishes What Has Been from novels by now-canonical female authors of this period. Simultaneously, it provides a new vantage-point for assessing obscure or long-forgotten novels. This volume will be of great interest to teachers and scholars of the long-eighteenth century and Romantic era, and on such far-ranging topics as the eighteenth- and nineteenth-century novel, British Romanticism, feminism, women’s literature, the gothic, and the ‘novel of purpose’ or Jacobin/anti-Jacobin novel.
1 169 kr
Skickas inom 5-8 vardagar
Between 1790 and 1820, William Lane’s Minerva Press published an unprecedented number of circulating-library novels by obscure female authors. Because these novels catered to the day’s fashion for sentimental themes and Gothic romance, they were and continue to be generally dismissed as ephemera. Recently, however, scholars interested in historicizing Romantic conceptions of genius and authorship have begun to write Minerva back into literary history. By making Minerva novels themselves the centre of the analysis, Minerva’s Gothics illustrates how Romantic ‘anxiety’ is better conceptualized as a mutual though not entirely equitable ‘exchange’, a dynamic interrelationship between Minerva novels and Romantic-era politics and poetics that started in 1780, when Lane began publishing novels with some regularity. Reading Minerva novels for their shared popular conventions demonstrates that circulating-library novelists collectively recirculate, engage and modify commonplaces about women’s nature, the social order and, most importantly, the very Romantic redefinitions of authorship and literature that render their novels not worth reading. By recognizing Minerva’s collaborative rather than merely derivative authorial model, a forgotten pathway is restored between first-generation Romantic reactions to popular print culture and Percy Shelley’s influential conceptualization of the poet in A Defence of Poetry.