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This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
Since the 1970s, romance novels have surpassed all other genres in terms of popularity in the United States, accounting for half of all mass market paperbacks sold and driving the digital publishing revolution. Romance Fiction and American Culture brings together scholars from the humanities, social sciences, and publishing to explore American romance fiction from the late eighteenth to the early twenty-first century. Essays on interracial, inspirational, and LGBTQ romance attend to the diversity of the genre, while new areas of inquiry are suggested in contextual and interdisciplinary examinations of romance authorship, readership, and publishing history, of pleasure and respectability in African American romance fiction, and of the dynamic tension between the genre and second wave feminism. As it situates romance fiction among other instances of American love culture, from Civil War diaries to Bob Dylan’s Blood on the Tracks, Romance Fiction and American Culture confirms the complexity and enduring importance of this most contested of genres.
Public credit was controversial in seventeenth- and eighteenth-century England. It entailed new ways of thinking about the individual in relation to the State and was for many reasons a site of cultural negotiation and debate. At the same time, it required commitment from participants in order to function. Some of the debates relating to public credit, whose success was tied up in the way it was represented, find their way into contemporary fiction – in particular the eighteenth-century novel. This book reads eighteenth-century fiction alongside works of political economy in order to offer a new perspective on credible commitment and the rise of a credit economy facilitated by public credit. Works by authors such as Daniel Defoe, Samuel Richardson, and Frances Burney are explored alongside lesser-known fictional texts, including some early it-narratives and novels of sensibility, to give a fully rounded view of the perception of public credit within England and its wider cultural and social implications. Strategies for representing public credit, the book argues, can be seen as contributing to the development of the English novel, a type of fiction whose emphasis on the individual can also be read as helping to produce a certain type of person, the modern financial subject. This interdisciplinary book draws from economic history and literary/cultural studies in order to make connections between the development of finance and an important facet of modern Western culture, the novel.
This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
In Hypocrisy and the Politics of Politeness, Jenny Davidson considers the arguments that define hypocrisy as a moral and political virtue in its own right. She shows that these were arguments that thrived in the medium of eighteenth-century Britain's culture of politeness. In the debate about the balance between truthfulness and politeness, Davidson argues that eighteenth-century writers from Locke to Austen come down firmly on the side of politeness. This is the case even when it is associated with dissimulation or hypocrisy. These writers argue that the open profession of vice is far more dangerous for society than even the most glaring discrepancies between what people say in public and what they do in private. This book explores what happens when controversial arguments in favour of hypocrisy enter the mainstream, making it increasingly hard to tell the difference between hypocrisy and more obviously attractive qualities like modesty, self-control and tact.
Proposing that Samuel Richardson's novels were crucial for the construction of female individuality in the mid-eighteenth century, Bonnie Latimer shows that Richardson's heroines are uniquely conceived as individuals who embody the agency and self-determination implied by that term. In addition to placing Richardson within the context of his own culture, recouping for contemporary readers the influence of Grandison on later writers, including Maria Edgeworth, Sarah Scott, and Mary Wollstonecraft, is central to her study. Latimer argues that Grandison has been unfairly marginalised in favor of Clarissa and Pamela, and suggests that a rigorous rereading of the novel not only provides a basis for reassessing significant aspects of Richardson's fictional oeuvre, but also has implications for fresh thinking about the eighteenth-century novel. Latimer's study is not a specialist study of Grandison but rather a reconsideration of Richardson's novelistic canon that places Grandison at its centre as Richardson's final word on his re-envisioning of the gendered self.