Masking and Unmasking the Female Mind: Disguising Romances in Feminine Fiction, 1713-1799University of Delaware Press, 1990 - 217 páginas This work concentrates on how eighteenth-century feminine novelists articulate the concerns important to women's lives and fates, and argues that these novelists used their romances to combat the controlling ideologies of the age. |
Contenido
| 17 | |
Elizabeth Boyd | 30 |
Penelope Aubin | 34 |
Eliza Haywood | 44 |
Jane Barker | 67 |
Mary Davys | 79 |
Mary Collyer | 91 |
The Later Haywood | 101 |
Charlotte Lennox | 128 |
Charlotte Smith | 146 |
Elizabeth Inchbald and Jane West | 175 |
Conclusion | 188 |
Notes | 192 |
| 201 | |
| 213 | |
Sarah Fielding | 108 |
Otras ediciones - Ver todas
Masking and Unmasking the Female Mind: Disguising Romances in Feminine ... Mary Anne Schofield Vista de fragmentos - 1990 |
Términos y frases comunes
adventures aggressive Arabella Aubin Baroness Beauclair becomes Betsy century characters Charlotte Lennox Charlotte Ramsey Lennox Charlotte Smith citations are noted continues Davys eighteenth Eliza Haywood Elizabeth Inchbald Emmeline emphasis added English Ethelinde Euphemia examines exploitation explore Fantomina fate father Felicia female novelists Female Quixote female writers Fielding Fielding's Galesia Garland Publishing Gigantilla happy Harriet Henrietta hero heroine heroine's History Idalia ideologies imagination Inchbald Jane Austen Jane Barker Jane West Lady letter London lover male marriage marry mask masquerading romance mind Miss Milner Montalbert Montamour mother narrative noted parenthetically novel novelists Ophelia Pamela passion Patch-Work Screen Penelope Aubin Philidore and Placentia plot popular preface present reader realistic reveals Richardson role romance form romance genre romantic heroine romantic love romantick Rosalie Sarah Fielding scene story Studies Subsequent citations tale tells tion topos true truth uncovers University Press unmasking volume women writes York
Pasajes populares
Página 25 - We find here a characteristic logic, the peculiar logic of the "inside out" (a I'envers), of the "turnabout," of a continual shifting from top to bottom, from front to rear, of numerous parodies and travesties, humiliations, profanations, comic crownings and uncrownings.
Página 22 - Romance reading and writing might be seen therefore as a collectively elaborated female ritual through which women explore the consequences of their common social condition as the appendages of men and attempt to imagine a more perfect state where all the needs they so intensely feel and accept as given would be adequately addressed.
Página 20 - Cleomira dances with all the elegance of motion imaginable; but her eyes are so chastised with the simplicity and innocence of her thoughts, that she raises in her beholders admiration and good-will, but no loose hope or wild imagination'. The true art in this case is, to make the mind and body improve together; and, if possible, to make gesture follow thought, and not let thought be employed upon gesture.
Página 23 - Rich's poetic adaptation was not unique. Barbara Bellow Watson, in an essay on women and power, reminds us that women, like other groups with minority status, adopt various forms of accommodation to protect themselves. The most essential form of accommodation for the weak is to conceal what power they do have...
Página 20 - The general mistake among us in the educating our children, is, that in our daughters we take care of their persons and neglect their minds; in our sons we are so intent upon adorning their minds, that we wholly neglect their bodies.
Página 20 - Thus her fancy is engaged to turn all her endeavours to the ornament of her person, as what must determine her good and ill in this life ; and she naturally thinks, if she is tall enough, she is wise enough for any thing for which her education makes her think she is designed. To make her an agreeable person is the main purpose of her parents ; to that is all their...