EARLY MODERN FEMINISMS – serie

A Genealogy of the Gentleman argues that eighteenth-century women writers made key interventions in modern ideals of masculinity and authorship through their narrative constructions of the gentleman. It challenges two latent critical assumptions: first, that the gentleman’s masculinity is normative, private, and therefore oppositional to concepts of performance; and second, that women writers, from their disadvantaged position within a patriarchal society, had no real means of influencing dominant structures of masculinity. By placing writers such as Mary Davys, Eliza Haywood, Charlotte Lennox, Elizabeth Inchbald, and Mary Robinson in dialogue with canonical representatives of the gentleman author-Joseph Addison and Richard Steele, David Hume, Samuel Johnson, and Samuel Richardson-Mary Beth Harris shows how these women carved out a space for their literary authority not by overtly opposing their male critics and society’s patriarchal structure, but by rewriting the persona of the gentleman as a figure whose very desirability and appeal were dependent on women’s influence. Ultimately, this project considers the import of these women writers’ legacy, both progressive and conservative, on hegemonic standards of masculinity that persist to this day.

A Genealogy of the Gentleman argues that eighteenth-century women writers made key interventions in modern ideals of masculinity and authorship through their narrative constructions of the gentleman. It challenges two latent critical assumptions: first, that the gentleman’s masculinity is normative, private, and therefore oppositional to concepts of performance; and second, that women writers, from their disadvantaged position within a patriarchal society, had no real means of influencing dominant structures of masculinity. By placing writers such as Mary Davys, Eliza Haywood, Charlotte Lennox, Elizabeth Inchbald, and Mary Robinson in dialogue with canonical representatives of the gentleman author-Joseph Addison and Richard Steele, David Hume, Samuel Johnson, and Samuel Richardson-Mary Beth Harris shows how these women carved out a space for their literary authority not by overtly opposing their male critics and society’s patriarchal structure, but by rewriting the persona of the gentleman as a figure whose very desirability and appeal were dependent on women’s influence. Ultimately, this project considers the import of these women writers’ legacy, both progressive and conservative, on hegemonic standards of masculinity that persist to this day.

Objects of Liberty explores the prevalence of souvenirs in British women’s writing during the French Revolution and Napoleonic era. It argues that women writers employed the material and memorial object of the souvenir to circulate revolutionary ideas and engage in the masculine realm of political debate. While souvenir collecting was a standard practice of privileged men on the eighteenth-century Grand Tour, women began to partake in this endeavor as political events in France heightened interest in travel to the Continent. Looking at travel accounts by Helen Maria Williams, Mary Wollstonecraft, Catherine and Martha Wilmot, Charlotte Eaton, and Mary Shelley, this study reveals how they used souvenirs to affect political thought in Britain and contribute to conversations about individual and national identity. At a time when gendered beliefs precluded women from full citizenship, they used souvenirs to redefine themselves as legitimate political actors. Objects of Liberty is a story about the ways that women established political power and agency through material culture.

Objects of Liberty explores the prevalence of souvenirs in British women’s writing during the French Revolution and Napoleonic era. It argues that women writers employed the material and memorial object of the souvenir to circulate revolutionary ideas and engage in the masculine realm of political debate. While souvenir collecting was a standard practice of privileged men on the eighteenth-century Grand Tour, women began to partake in this endeavor as political events in France heightened interest in travel to the Continent. Looking at travel accounts by Helen Maria Williams, Mary Wollstonecraft, Catherine and Martha Wilmot, Charlotte Eaton, and Mary Shelley, this study reveals how they used souvenirs to affect political thought in Britain and contribute to conversations about individual and national identity. At a time when gendered beliefs precluded women from full citizenship, they used souvenirs to redefine themselves as legitimate political actors. Objects of Liberty is a story about the ways that women established political power and agency through material culture.

Feminist Comedy: Women Playwrights of London identifies the eighteenth-century comedic stage as a key site of feminist critique, practice, and experimentation. While the history of feminism and comedy is undeniably vexed, by focusing on five women playwrights of the latter half of the eighteenth century--Catherine Clive, Frances Brooke, Frances Burney, Hannah Cowley, and Elizabeth Inchbald--this book demonstrates that stage comedy was crucial to these women’s professional success in a male-dominated industry and reveals a unifying thread of feminist critique that connects their works. Though male detractors denied women’s comic ability throughout the era, eighteenth-century women playwrights were on the cutting edge of comedy and their work had important feminist influence that can be traced to today’s stages and screens.

Feminist Comedy: Women Playwrights of London identifies the eighteenth-century comedic stage as a key site of feminist critique, practice, and experimentation. While the history of feminism and comedy is undeniably vexed, by focusing on five women playwrights of the latter half of the eighteenth century--Catherine Clive, Frances Brooke, Frances Burney, Hannah Cowley, and Elizabeth Inchbald--this book demonstrates that stage comedy was crucial to these women’s professional success in a male-dominated industry and reveals a unifying thread of feminist critique that connects their works. Though male detractors denied women’s comic ability throughout the era, eighteenth-century women playwrights were on the cutting edge of comedy and their work had important feminist influence that can be traced to today’s stages and screens.

The first of a two-volume edition of The Fenwick Letters covers 1797 to 1821, a period that marked the initial phase of Eliza Fenwick’s transnational odyssey, as she transformed from promising author to conservative schoolmistress and savvy businesswoman; from traveling in radical circles in London to establishing herself in colonial slave-dependent Bridgetown, Barbados; and from wife of radical journalist and author John Fenwick to single, working mother, trying to establish an independent life for herself and her children, Eliza Ann and Orlando. Eliza’s letters are consistently riveting, filled with sharply drawn portraits of the people, places, environment, politics, industries, and culture of each community she lived in.

The first of a two-volume edition of The Fenwick Letters covers 1797 to 1821, a period that marked the initial phase of Eliza Fenwick’s transnational odyssey, as she transformed from promising author to conservative schoolmistress and savvy businesswoman; from traveling in radical circles in London to establishing herself in colonial slave-dependent Bridgetown, Barbados; and from wife of radical journalist and author John Fenwick to single, working mother, trying to establish an independent life for herself and her children, Eliza Ann and Orlando. Eliza’s letters are consistently riveting, filled with sharply drawn portraits of the people, places, environment, politics, industries, and culture of each community she lived in.

Quixotic Authority reveals how deeply absorbed reading was inextricable from and essential to British women's professional writing and cultural commentary from the mid-eighteenth to the mid-nineteenth century. The trope of quixotism, what we might today call "fangirling," had distinctly gendered implications, as the female quixote was almost exclusively associated with uncritical, overly absorptive novel reading, and often portrayed as a self-centered, deluded, ill-educated home-wrecker who must be reformed or punished. But what do we make of the fact that women wrote most of the depictions of female quixotes in novels of this period? Jodi Wyett shows that authors such as Charlotte Lennox and Jane Austen wrote quixote narratives to assert their own professional cachet as well as validate the passion and intelligence of women novel readers. Harnessing the power of the genre, they debunked proscriptive contemporary discourse denigrating both women and the novel. This book redefines the female quixote as a fierce fangirl both modeled in fiction and embodied by her creators.

Quixotic Authority reveals how deeply absorbed reading was inextricable from and essential to British women's professional writing and cultural commentary from the mid-eighteenth to the mid-nineteenth century. The trope of quixotism, what we might today call "fangirling," had distinctly gendered implications, as the female quixote was almost exclusively associated with uncritical, overly absorptive novel reading, and often portrayed as a self-centered, deluded, ill-educated home-wrecker who must be reformed or punished. But what do we make of the fact that women wrote most of the depictions of female quixotes in novels of this period? Jodi Wyett shows that authors such as Charlotte Lennox and Jane Austen wrote quixote narratives to assert their own professional cachet as well as validate the passion and intelligence of women novel readers. Harnessing the power of the genre, they debunked proscriptive contemporary discourse denigrating both women and the novel. This book redefines the female quixote as a fierce fangirl both modeled in fiction and embodied by her creators.

Interiority in German Women's Writing for the first time systematically gathers and engages with contributions of German women authors to the discourse on interiority (Innerlichkeit) from 1750 to 1850. This volume shifts the recent focus on abstract theoretical and medical discourses on inwardness to the origins of interiority in literature and philosophy as written and experienced by women from the Age of Sensibility (Empfindsamkeit) to the Romantic era. At the same time, it makes a claim for and explores the ramifications of understanding interiority as a feminine discourse. Contributors investigate the works of women authors who searched to find rescue from their cultural and personal entrapment via creative spaces and various modes of interiority in theatrical performances, poetic writings, letters, biographical narratives, prose, and fairy tales. From the case studies and literary analyses in the volume, interiority emerges as a spectrum of approaches to defining, resisting, and transforming the innermost self.

Interiority in German Women's Writing for the first time systematically gathers and engages with contributions of German women authors to the discourse on interiority (Innerlichkeit) from 1750 to 1850. This volume shifts the recent focus on abstract theoretical and medical discourses on inwardness to the origins of interiority in literature and philosophy as written and experienced by women from the Age of Sensibility (Empfindsamkeit) to the Romantic era. At the same time, it makes a claim for and explores the ramifications of understanding interiority as a feminine discourse. Contributors investigate the works of women authors who searched to find rescue from their cultural and personal entrapment via creative spaces and various modes of interiority in theatrical performances, poetic writings, letters, biographical narratives, prose, and fairy tales. From the case studies and literary analyses in the volume, interiority emerges as a spectrum of approaches to defining, resisting, and transforming the innermost self.

She Said NO argues that the simple word "no" reveals a profound gender divide in authority over who gets to speak, and who gets to refuse. Through an archival recovery of female refusal in French literature, it reframes consent and critiques the patriarchal foundations of the literary canon, offering a new feminist way of reading texts of the Grand Siècle.

She Said NO argues that the simple word "no" reveals a profound gender divide in authority over who gets to speak, and who gets to refuse. Through an archival recovery of female refusal in French literature, it reframes consent and critiques the patriarchal foundations of the literary canon, offering a new feminist way of reading texts of the Grand Siècle.

Women's Wit Onstage expands the view of wit in Restoration and eighteenth-century drama beyond repartee to include the interplay between verbal and physical forms in comedies, tragedies, and tragicomedies, placing wit in a theatrical and embodied context. Through wit, women characters, playwrights, and performers expressed a feminized perspective that questioned gender stereotypes and resisted patriarchal authority."."

Women's Wit on the Early Modern Stage explores the overlooked, gendered challenge posed by heroines and villainesses in comedies, tragedies, and tragicomedies through who displayed their wit through repartee, plotting, and disguise, combining verbal skill with physical action to produce a feminized perspective. The chapters showcase the portrayal of women's wit in the works of Frances Boothby, Aphra Behn, Elizabeth Polwhele, Mary Pix, Catharine Trotter, Delarivier Manley, and Susanna Centlivre, in which female characters criticize authority and address female spectators in the theater, including them as part of an emerging critical discourse on the public stage. As the first-ever scholarly monograph about women's wit in drama before the twentieth century, this book draws attention to the cultural and social role that wit played in the public sphere as a mode of critique, empowerment, and play for women both on and offstage.

In volume 2 of The Fenwick Letters,the scholarly annotations to the letters written by Eliza Fenwick (1764-1840) and her granddaughter Elizabeth Rutherford Savage (1817-1899) between 1822 and 1840 reveal an immigration success story. Eliza remade herself in North America as a businesswoman and educator, and her progressive arts-based philosophies and practices still read as a template for academic excellence."."

In volume 2 of The Fenwick Letters,the scholarly annotations to the letters written by Eliza Fenwick (1764-1840) and her granddaughter Elizabeth Rutherford Savage (1817-1899) between 1822 and 1840 reveal an immigration success story. Eliza remade herself in North America as a businesswoman and educator, and her progressive arts-based philosophies and practices still read as a template for academic excellence."."

Women and Communal Worship is the first edited collection on early modern women's participation in communal religious rituals and their production of texts about liturgical practices. The essays address core questions about female agency and cover a wide range of literary genres, making a major intervention in early modern studies by showing the need for a turn toward the study of communal and liturgical worship. "."