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The eighteenth-century home, in terms of its structure, design, function, and furnishing, was a site of transformation – of spaces, identities, and practices. Home has myriad meanings, and although the eighteenth century in the common imagination is often associated with taking tea on polished mahogany tables, a far wider world of experience remains to be introduced. At Home in the Eighteenth Century brings together factual and fictive texts and spaces to explore aspects of the typical Georgian home that we think we know from Jane Austen novels and extant country houses while also engaging with uncharacteristic and underappreciated aspects of the home. At the core of the volume is the claim that exploring eighteenth-century domesticity from a range of disciplinary vantage points can yield original and interesting questions, as well as reveal new answers. Contributions from the fields of literature, history, archaeology, art history, heritage studies, and material culture brings the home more sharply into focus. In this way At Home in the Eighteenth Century reveals a more nuanced and fluid concept of the eighteenth-century home and becomes a steppingstone to greater understanding of domestic space for undergraduate level and beyond.
“A lively survey…her research and insights make us conscious of how we, today, use books.”—John Sutherland, The New York Times Book Review Two centuries before the advent of radio, television, and motion pictures, books were a cherished form of popular entertainment and an integral component of domestic social life. In this fascinating and vivid history, Abigail Williams explores the ways in which shared reading shaped the lives and literary culture of the eighteenth century, offering new perspectives on how books have been used by their readers, and the part they have played in middle-class homes and families. Drawing on marginalia, letters and diaries, library catalogues, elocution manuals, subscription lists, and more, Williams offers fresh and fascinating insights into reading, performance, and the history of middle-class home life. “Williams’s charming pageant of anecdotes…conjures a world strikingly different from our own but surprisingly similar in many ways, a time when reading was on the rise and whole worlds sprang up around it.”—TheWashington Post
The eighteenth-century home, in terms of its structure, design, function, and furnishing, was a site of transformation – of spaces, identities, and practices. Home has myriad meanings, and although the eighteenth century in the common imagination is often associated with taking tea on polished mahogany tables, a far wider world of experience remains to be introduced. At Home in the Eighteenth Century brings together factual and fictive texts and spaces to explore aspects of the typical Georgian home that we think we know from Jane Austen novels and extant country houses while also engaging with uncharacteristic and underappreciated aspects of the home. At the core of the volume is the claim that exploring eighteenth-century domesticity from a range of disciplinary vantage points can yield original and interesting questions, as well as reveal new answers. Contributions from the fields of literature, history, archaeology, art history, heritage studies, and material culture brings the home more sharply into focus. In this way At Home in the Eighteenth Century reveals a more nuanced and fluid concept of the eighteenth-century home and becomes a steppingstone to greater understanding of domestic space for undergraduate level and beyond.
On America’s western frontier, myths of prosperity concealed the brutal conditions endured by women, slaves, orphans, and the poor. As poverty and unrest took root in eighteenth-century Kentucky, western lawmakers championed ideas about whiteness, manhood, and patriarchal authority to help stabilize a politically fractious frontier. Honor Sachs combines rigorous scholarship with an engaging narrative to examine how conditions in Kentucky facilitated the expansion of rights for white men in ways that would become a model for citizenship in the country as a whole. Endorsed by many prominent western historians, this groundbreaking work is a major contribution to frontier scholarship.
In Eighteenth-Century Fiction and the Law of Property, Wolfram Schmidgen draws on legal and economic writings to analyse the description of houses, landscapes, and commodities in eighteenth-century fiction. His study argues that such descriptions are important to the British imagination of community. By making visible what it means to own something, they illuminate how competing concepts of property define the boundaries of the individual, of social community, and of political systems. In this way, Schmidgen recovers description as a major feature of eighteenth-century prose, and he makes his case across a wide range of authors, including Daniel Defoe, Henry Fielding, William Blackstone, Adam Smith, and Ann Radcliffe. The book's most incisive theoretical contribution lies in its careful insistence on the unity of the human and the material: in Schmidgen's argument, persons and things are inescapably entangled. This approach produces fresh insights into the relationship between law, literature, and economics.
The perfect accompaniment to courses on eighteenth-century opera for both students and teachers, this Companion is a definitive reference resource.
Exploring interiors of breezy elegance, where Pop Art and industrial design mingle with patinaed highboys and carved candelabra, this book reinvents classic elements of French style, making the old new all over again.
How did eighteenth-century readers find and make time to read? Books have always posed a problem of time for readers. Becoming widely available in the eighteenth century—when working hours increased and lighter and quicker forms of reading (newspapers, magazines, broadsheets) surged in popularity—the material form of the codex book invited readers to situate themselves creatively in time. Drawing on letters, diaries, reading logs, and a range of eighteenth- and early nineteenth-century novels, Christina Lupton’s Reading and the Making of Time in the Eighteenth Century concretely describes how book-readers of the past carved up, expanded, and anticipated time. Placing canonical works by Elizabeth Inchbald, Henry Fielding, Amelia Opie, and Samuel Richardson alongside those of lesser-known authors and readers, Lupton approaches books as objects that are good at attracting particular forms of attention and paths of return. In contrast to the digital interfaces of our own moment and the ephemeral newspapers and pamphlets read in the 1700s, books are rarely seen as shaping or keeping modern time. However, as Lupton demonstrates, books are often put down and picked up, they are leafed through as well as read sequentially, and they are handed on as objects designed to bridge temporal distances. In showing how discourse itself engages with these material practices, Lupton argues that reading is something to be studied textually as well as historically. Applying modern theorists such as Niklas Luhmann, Bruno Latour, and Bernard Stiegler, Lupton offers a rare phenomenological approach to the study of a concrete historical field. This compelling book stands out for the combination of archival research, smart theoretical inquiry, and autobiographical reflection it brings into play.
Scrutinising Sterne's fiction through a book history lens, Helen Williams creates novel readings of his work based on meticulous examination of its material and bibliographical conditions. Alongside multiple editions and manuscripts of Sterne's own letters and works, a panorama of interdisciplinary sources are explored, including dance manuals, letter-writing handbooks, newspaper advertisements, medical pamphlets and disposable packaging. For the first time, this wealth of previously overlooked material is critically analysed in relation to the design history of Tristram Shandy, conceptualising the eighteenth-century novel as an artefact that developed in close conjunction with other media. In examining the complex interrelation between a period's literature and the print matter of everyday life, this study sheds new light on Sterne and eighteenth-century literature by re-defining the origins of his work and of the eighteenth-century novel more broadly, whilst introducing readers to diverse print cultural forms and their production histories.
Over the course of the eighteenth century, Anglo-Americans purchased an unprecedented number and array of goods. The Power of Objects in Eighteenth-Century British America investigates these diverse artifacts—from portraits and city views to gravestones, dressing furniture, and prosthetic devices—to explore how elite American consumers assembled objects to form a new civil society on the margins of the British Empire. In this interdisciplinary transatlantic study, artifacts emerge as key players in the formation of Anglo-American communities and eventually of American citizenship. Deftly interweaving analysis of images with furniture, architecture, clothing, and literary works, Van Horn reconstructs the networks of goods that bound together consumers in Boston, New York, Philadelphia, and Charleston. Moving beyond emulation and the desire for social status as the primary motivators for consumption, Van Horn shows that Anglo-Americans' material choices were intimately bound up with their efforts to distance themselves from Native Americans and African Americans. She also traces women's contested place in forging provincial culture. As encountered through a woman's application of makeup at her dressing table or an amputee's donning of a wooden leg after the Revolutionary War, material artifacts were far from passive markers of rank or political identification. They made Anglo-American society.