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The essays in this volume offer fresh and innovative considerations both of how children interacted with the world of print, and of how childhood circulated in the literary cultures of the eighteenth century. They engage with not only the texts produced for the period’s newly established children’s book market, but also with the figure of the child as it was employed for a variety of purposes in literatures for adult readers. Embracing a wide range of methodological and disciplinary perspectives and considering a variety of contexts, these essays explore childhood as a trope that gained increasing cultural significance in the period, while also recognizing children as active agents in the worlds of familial and social interaction. Together, they demonstrate the varied experiences of the eighteenth-century child alongside the shifting, sometimes competing, meanings that attached themselves to childhood during a period in which it became the subject of intensified interest in literary culture.
In this first study of art, law, and the legislator, Jonathan Ribner provides a revealing look at French art from 1789 to 1848, the period in which constitutional law was established in France. Drawing on several disciplines, he discusses how each of the early constitutional regimes in France used imagery suggesting the divine origin and sacred character of its laws. Primarily a study of art and politics, Broken Tablets discusses painting, sculpture, prints, and medals (many reproduced here for the first time), as well as contemporary literature, including the poetry of Alfred de Vigny, Alphonse de Lamartine, and Victor Hugo. Ribner assesses the ways in which legislation imagery became an instrument of political propaganda, and he clearly illuminates the cult of the law as it became personalized under Napoleon, monarchist under the Restoration, and defensive under Louis-Phillipe.
Vols. for 1898-1968 include a directory of publishers.
English Theatrical Anecdotes, 1660-1800 explores the theatrical anecdote's role in the construction of stage fame in England's emergent celebrity culture during the long eighteenth century, as well as the challenges of employing anecdotes in theatre scholarship today. Chapters in this book discuss anecdotes about actors, actresses, musicians, and other theatre people.
What did Wordsworth wear, and where did he walk? Who was Byron’s new mistress, and how did his marriage fare? Answers—sometimes accurate, sometimes not—were tantalizingly at the ready in the Romantic era, when confessional poetry, romans à clef, personal essays, and gossip columns offered readers exceptional access to well-known authors. But at what point did familiarity become overfamiliarity? Widely recognized as a social virtue, familiarity—a feeling of emotional closeness or comforting predictability—could also be dangerous, vulgar, or boring. In The Limits of Familiarity, Eckert persuasively argues that such concerns shaped literary production in the Romantic period. Bringing together reception studies, celebrity studies, and literary history to reveal how anxieties about familiarity shaped both Romanticism and conceptions of authorship, this book encourages us to reflect in our own fraught historical moment on the distinction between telling all and telling all too much.
Two clubs, dedicated to proclaiming the joys of libertine sex, thrived in mid and late 18th-century Scotland. The Beggar's Benison (1732), starting from local roots in Fife, became large and sprawling, with branches in Edinburgh, Glasgow - and St Petersburg. As a toast "The Beggar's Benison" was drunk at aristocratic dinners in London as a coded reference to sex, and the Prince of Wales (later George IV) became a member. In Edinburgh, also, the Wig Club (1775) gave the elite of the Scottish Tory establishment a forum in which to dine, gamble and venerate a wig supposedly made of the pubic hairs of the mistresses of Charles II. Both clubs flourished in a great age of raucous clubs in which bawdy often played a prominent part, and both died as changes in sensibility made such behaviour seem gross and unacceptable. As the Victorian age approached, the clubs withered away under its disapproving glare. In this book, the author tells the story of these clubs, analyzes the obscene relics of their rituals which survive, and places the clubs in their social, cultural and political contexts. It is an extensively researched study, but at the same time recognizes the entertainment value of the many anecdotes concerning the clubs, the absurdities inherent in the antics of club rituals, and the appeal of the bawdy.