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Actress, playwright, and novelist, Elizabeth Griffith (1727-1793) won fame in England with the publication in 1757 of the first two volumes of Letters Between Henry and Frances, letters from her own courtship with Richard Griffith whom she secretly married in 1751. Her first novel, The Delicate Distress (1769), focuses on the problems women encounter after marriage—the issue of financial independence for wives, the consequences of interfaith relationships, and the promiscuity of their husbands. Against a backdrop of rural England and Paris of the ancien regime, Griffith reimagines the epistolary novel of sensibility in the tradition of Samuel Richardson and Jean-Jacques Rousseau from a feminist perspective that centers on strong, intelligent, and virtuous women. Two sisters exchange letters about urgent ethical questions concerning love, marriage, morality, art, the duties of wives and husbands, and passion versus reason, while two men correspond about the same subjects. At the story's center is the deep distress of Emily Woodville, a virtuous young newlywed who suspects her husband of infidelity with a French marchioness from his past. The third volume in the series Eighteenth-Century Novels by Women, The Delicate Distress contributes to our understanding of the development of the novel. As Cynthia Ricciardi and Susan Staves show, Griffith's exploration of the psychology of characters who observe and reflect but engage in no grand public actions anticipates Henry James. The editors' introduction places The Delicate Distress firmly in the tradition of the English novel, provides the most complete biography available on Griffith's life, and brings together the most important eighteenth- and twentieth-century criticism of the novelist's work.
The Delicate Distress (1769) focuses on the problems women encounter after marriage - the issue of financial independence for wives, the consequences of interfaith relationships, and the promiscuity of their husbands. At the story's center is the deep distress of Emily Woodville, a virtuous young newlywed who suspects her husband of infidelity with a French marchioness from his past. Against a backdrop of rural England and Paris of the ancien regime, Elizabeth Griffith takes the epistolary novel of sensibility in the tradition of Samuel Richardson and Jean-Jacques Rousseau and re-imagines it from a feminist perspective that centers on strong, intelligent, and virtuous women. Two sisters exchange letters about urgent ethical questions concerning love, marriage, morality, art, the duties of wives and husbands, and passion versus reason, while two men correspond about the same subjects. The Delicate Distress is one of the earliest novels to explore the psychology of characters who observe and reflect but engage in no grand public actions.
Conceding that the latter half of the 18th century holds little of true literary value besides the works of Fanny Burney, Ernest Baker nevertheless finds that the period "teems with interest" the public's demand for fiction and the rapidly increasing production of novels reshaped the book market, and "writers who were poor novelists but persons of strong views or feelings" spawned various subgenres worthy of exploration.
Drawing on three decades of feminist scholarship bent on rediscovering lost and abandoned women writers, Susan Staves provides a comprehensive history of women's writing in Britain from the Restoration to the French Revolution. This major work of criticism also offers fresh insights about women's writing in all literary forms, not only fiction, but also poetry, drama, memoir, autobiography, biography, history, essay, translation and the familiar letter. Authors celebrated in their own time and who have been neglected, and those who have been revalued and studied, are given equal attention. The book's organisation by chronology and its attention to history challenge the way we periodise literary history. Each chapter includes a list of key works written in the period covered, as well as a narrative and critical assessment of the works. This magisterial work includes a comprehensive bibliography and list of prevalent editions of the authors discussed.
Although much has been written about how the novel relates to the epic, the drama, or autobiography, no one has clearly analyzed the complex connections between prose fiction as it evolved before 1800 and the literature of travel, which by that date had a long and colorful history. Percy Adams skilfully portrays the emergence of the novel in the fiction of the seventeenth and eighteenth centuries and traces in rich detail the history of travel literature from its beginnings to the time of James Cook, contemporary of Richardson and Fielding. And since the recit de voyage and the novel were then so international, he deals throughout with all the literatures of Western Europe, one of the book's chief themes being the close literary ties among European nations. Equally important in the present study is its demonstration that, just as early travel accounts were often a combination of reporting and fabrication, so prose fiction is not a dichotomy to be divided into the "adult" novel on the one hand and the "childish" romance on the other, but an ambivalence—the marriage of realism and romanticism. Travel Literature and the Evolution of the Novel not only shows the novel to be amorphous and changing, it also proves impossible the task of defining the recit de voyage with its thousand forms and faces. Often the two types of literature are almost indistinguishable; even before Don Quixote, Adams writes, many travel accounts could have been advertised as having "the endless fascination of a wonderfully observed novel." This study by Percy Adams will both modify opinions about the novel and its history and provide an excellent introduction to the travel account, a form of literature too little known to students of belles lettres.
Death and the Body in the Eighteenth-Century Novel demonstrates that archives continually speak to the period's rising funeral and mourning culture, as well as the increasing commodification of death and mourning typically associated with nineteenth-century practices. Drawing on a variety of historical discourses--such as wills, undertaking histories, medical treatises and textbooks, anatomical studies, philosophical treatises, and religious tracts and sermons--the book contributes to a fuller understanding of the history of death in the Enlightenment and its narrative transformation. Death and the Body in the Eighteenth-Century Novel not only offers new insights about the effect of a growing secularization and commodification of death on the culture and its productions, but also fills critical gaps in the history of death, using narrative as a distinct literary marker. As anatomists dissected, undertakers preserved, jewelers encased, and artists figured the corpse, so too the novelist portrayed bodily artifacts. Why are these morbid forms of materiality entombed in the novel? Jolene Zigarovich addresses this complex question by claiming that the body itself--its parts, or its preserved representation--functioned as secular memento, suggesting that preserved remains became symbols of individuality and subjectivity. To support the conception that in this period notions of self and knowing center upon theories of the tactile and material, the chapters are organized around sensory conceptions and bodily materials such as touch, preserved flesh, bowel, heart, wax, hair, and bone. Including numerous visual examples, the book also argues that the relic represents the slippage between corpse and treasure, sentimentality and materialism, and corporeal fetish and aesthetic accessory. Zigarovich's analysis compels us to reassess the eighteenth-century response to and representation of the dead and dead-like body, and its material purpose and use in fiction. In a broader framework, Death and the Body in the Eighteenth-Century Novel also narrates a history of the novel that speaks to the cultural formation of modern individualism.
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
First published in 2004. Popular Print Media 1820-1900 makes available a selection of articles from nineteenth-century newspapers, periodicals and books which are otherwise unavailable except in their original publications. The collection also includes a significant amount of material that highlights the complex and changing importance of women in and for the nineteenth-century media at large. The collection is made up of three volumes, divided into six sections and will cover the following themes: technology, reading spaces, influence of print, graphic media, serial fiction, periodicals and the 'popular'. Each section includes a new introduction by the editors. The editors will also include a thematic table that enables readers to pursue a specific conceptual and/or historical issue, such as the impact of serial publication upon practices of reading and authorship.