Eighteenth-Century Fiction
Volume 24, Number 1, Fall 2011
is now available at http://utpjournals.metapress.com/content/nw3hm28t4375/
This issue contains:
Female Favouritism, Orientalism, and the Bathing Closet in Memoirs of Count
Grammont
Danielle Bobker
This article reads an eroticized intrigue between two ladies-in-waiting in
Anthony Hamilton's Jacobite secret history of the Restoration court in light
of the ambivalent symbolism of its setting. The bathing closet points to a
long tradition of same-sex intimacy at court that Hamilton admires; and yet
in conjuring popular orientalist images of homoerotic subjection, that
setting also suggests the diminishing impact of such affairs, as absolutist
principles and practices lose their political and cultural force in England.
Some scholars of early modern sexuality have emphasized the importance of
Hamilton's gossipy narration of this episode and his sly treatment of the
figure of the hermaphrodite. Attending to the bathing-closet setting, subtly
altering our sense of the episode's tone, underscores the political valences
of the female courtiers' bond and, more broadly, highlights the value of
female favouritism as a category of analysis for the sexual historiography
of the seventeenth and eighteenth centuries.
<http://utpjournals.metapress.com/content/fv4w1210210340lp/?p=cc9e35296e114b
17acbca700606549e3&pi=0>
http://utpjournals.metapress.com/content/fv4w1210210340lp/?p=cc9e35296e114b1
7acbca700606549e3&pi=0
DOI: 10.3138/ecf.24.1.1
Gentlemen and Gentle Women: The Landscape Ethos in Millenium Hall
Nicolle Jordan
The rural landscape in Sarah Scott's Millenium Hall is not simply the
setting but rather a way of seeing the world that the novel scrutinizes.
This article synthesizes various readings of landscape in Scott's novel in
order to assert its construction of a landscape ethos that encompasses
ethical, aesthetic, and economic experience. Drawing on cultural geography
and art history, I assess the relationship between the novel's content and
form and argue that peripheral details contribute to its larger textual
landscape, thus giving rise to the ethos in question. This formal analysis
exposes the conservatism of the novel's social and gender politics. The
landscape ethos unites the female inhabitants of the Hall with their male
visitors, naturalizing their shared gentility and rendering their social
privilege more stable even as the seemingly more urgent concern-women's
vulnerability-eludes the narrator's grasp.
<http://utpjournals.metapress.com/content/f02g87mm75707049/?p=7a15a91b4f1c4d
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http://utpjournals.metapress.com/content/f02g87mm75707049/?p=7a15a91b4f1c4d4
b9916f81955e4e629&pi=1
DOI: 10.3138/ecf.24.1.31
True Crime: Contagion, Print Culture, and Herbert Croft's Love and Madness;
or, A Story Too True
Kelly McGuire
Herbert Croft fictionalized an eighteenth-century crime of passion in his
epistolary novel, Love and Madness; or, A Story Too True (1780); in his
retelling, Croft presents James Hackman, the suicidal murderer of Martha Ray
in 1779, as both the victim of various forms of contagion-social, textual,
and medical-and as an exemplar of a kind of self-sacrificing sensibility
that enables him to overcome the stigma of suicide. Croft's representation
of the crime draws heavily upon Goethe's controversial The Sorrows of Young
Werther (1774) and implicates this text in Hackman's suicidal subjectivity.
Croft frames his anti-Wertherian story as a Christian heroic and nationalist
narrative dedicated to dismantling the myth of the "English Malady" of
suicidal melancholy. Croft struggles to reposition suicide as a
transnational rather than a national phenomenon. The historical figure of
James Hackman emerges out of Croft's treatment as an unlikely means of
revaluing national character, interests, and sensibility.
<http://utpjournals.metapress.com/content/f46k4k2vx2711509/?p=7a15a91b4f1c4d
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http://utpjournals.metapress.com/content/f46k4k2vx2711509/?p=7a15a91b4f1c4d4
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DOI: 10.3138/ecf.24.1.55
Burney, Ovid, and the Value of the Beautiful
G. Gabrielle Starr
Frances Burney revises Ovidian genres and Ovidian metamorphosis in Evelina
and The Wanderer. Using Ovid, she models a complex understanding of
aesthetics that weighs the relation of cruelty, laughter, and negative
emotions to aesthetic pleasure, and she explores the material significance
of aesthetic experience. In the model that Burney adapts from Ovid, value
always implies desire: desire creates value, then transforms it in ways that
are not always predictable. Aesthetic values, objects, judgments, and the
communities that underwrite those judgments are subject to fundamental,
mutual transformation, and this changeability is the hallmark of aesthetic
experience in Burney.
<http://utpjournals.metapress.com/content/f28223382q45608t/?p=7a15a91b4f1c4d
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DOI: 10.3138/ecf.24.1.77
Jane Austen as Editor: Letters on Fiction and the Cancelled Chapters of
Persuasion
Katie Gemmill
Persuasion is the only one of Jane Austen's published novels for which there
is extant manuscript material: the first draft of the final two chapters.
Within fewer than three weeks of writing these chapters, Austen partially
cancelled and partially revised them in order to produce the final three
chapters of the published version. Persuasion is thus singular in her
oeuvre, providing the only opportunity to see precisely how she edited a
draft to turn it into a publishable piece of fiction. In this article, I
perform a comparative reading of the cancelled and published chapters of
Persuasion, observing how Austen's novelistic principles shaped her
editorial practices. Her dissatisfaction with the original chapters
correlates directly to her theory of novel-writing, as articulated in her
five letters on fiction of 1814 to her niece Anna Lefroy. Austen cancelled
and revised the end of Persuasion with the clearest of intentions: to
produce a novel that better satisfied her stringent standards for novelistic
form.
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http://utpjournals.metapress.com/content/f7581gg112g15817/?p=7a15a91b4f1c4d4
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DOI: 10.3138/ecf.24.1.105
Reviews/Comptes Rendus
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DOI: 10.3138/ecf.24.1.123
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Eighteenth Century Fiction publishes articles in both English and French on
all aspects of imaginative prose in the period 1700-1800, but will also
examine papers on late 17th-century or early 19th-century fiction,
particularly when the works are discussed in connection with the eighteenth
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period 1700-1800, but are also happy to consider papers on late
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