FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1994594865> ?p ?o ?g. }

• W1994594865 endingPage "504" @default.
• W1994594865 startingPage "502" @default.
• W1994594865 abstract "502 EIGHTEENTH-CENTURY FICTION 11:4 is that we can understand epistolary exchanges in Clarissa in terms of the cardiac metaphor: a circulatory system ofreceiving, expressing, and receiving again those impressions and ideas closest to the hearts of the individual correspondents (p. 188). He is informative when he reminds us that in the late seventeenth and early eighteenth century the representation of the heart takes on new and more positive meaning as the source of circulatory power, vital equilibrium, and a variety of expressions of love (p. 198). And he is excellent on Lovelace's phallic heart, a displacement upwards that threatens often enough to choke him so that in some sense he rapes himself as well as Clarissa. But Erickson's master metaphor in this chapter tends to become more and more literal, and Clarissa is depicted as a sort of heart surgeon, operating on herself to render her heart to others. Erickson also becomes more and more densely theological, as the dying Clarissa fortifies and restores her heart (as a new Eve and Mary, the woman writer who bears a new female version of the Word, p. 216). In the end, Erickson's reading of Clarissa is powerful and suggestive, almost overwhelming in its command of the language of the heart, but his rendering of Richardson's novel strikes me as theologically and historically overdetermined, extracting a density of moralreligious meaning that actual eighteenth-century readers might well have been astonished to read about. In the process, Erickson tends to efface the moral, social , and in particular the historical world the novel represents and to favour, I think excessively, the anatomical and moral-theological. John Richetti University of Pennsylvania Christine Roulston. Virtue, Gender, and the Authentic Self in EighteenthCentury Fiction: Richardson, Rousseau, and Laclos. Gainesville: University Press ofFlorida, 1998. xx + 21 1pp. US$49.95. ISBN 0-8130-15812 . Long, long ago, in terms of critical half-life, Nancy Miller ended her book The Heroine's Text (1980) with these lines: Because the novel, more than any other form ofart, is forced by the contract ofthe genre to negotiate with social realities in order to remain legible, its plots are largely overdetermined by the commonplaces of the culture. Until the culture invents new plots for women, we will continue to read the heroine's text. Or we could stop reading novels (pp. 157-58). Her last words have begun to take on a new meaning in the last twenty years. I think she meant at the time that we could stop reading novels if we were tired of witnessing the same euphoric and dysphoric plots repeated over and over again. But, as later critics have continued to explore eighteenth-century novels and the social realities that determine their trajectory, we seem to be producing readings of those novels that are more and more alike. REVIEWS 503 I say this with some sorrow, since Christine Roulston's book is full ofintelligent close readings of the four novels she has chosen: Pamela, Clarissa, La Nouvelle Héloïse, and Les Liaisons dangereuses (all novels that Miller included as well). I particularly enjoyed her discussion oftheparallels with the biblical Dinah narrative in Clarissa and ofthe complex garden imagery in La Nouvelle Héloïse. But overall her ideas about the novels and their relationship to each other produce a strong déjà lu effect. Perhaps this is because there seems to have been a long gap between the writing of the book and its publication. There are very few references to critical work from the 1990s in her bibliography and none after 1994. For example, she refers to Habbakuk's 1950 article on eighteenth-century family law but not to Susan Staves's work; to Peter Brooks's The Novel ofWorldliness (1969), but not to Susan Winnett's Terrible Sociability (1993), which significantly extends and modifies Brooks's insights. This also means that she has not been able to take account of more innovative work that has come out recently—Elizabeth Heckendorn Cook's Epistolary Bodies (1996) or Sonia Hofkosh's Sexual Politics and the Romantic Author (1998), for example—books that approach the problem ofwomen in fiction from new vantagepoints..." @default.
• W1994594865 created "2016-06-24" @default.
• W1994594865 creator A5088893168 @default.
• W1994594865 date "1999-01-01" @default.
• W1994594865 modified "2023-10-17" @default.
• W1994594865 title "<i>Virtue, Gender, and the Authentic Self in Eighteenth-Century Fiction: Richardson, Rousseau, and Laclos</i> (review)" @default.
• W1994594865 doi "https://doi.org/10.1353/ecf.1999.0061" @default.
• W1994594865 hasPublicationYear "1999" @default.
• W1994594865 type Work @default.
• W1994594865 sameAs 1994594865 @default.
• W1994594865 citedByCount "0" @default.
• W1994594865 crossrefType "journal-article" @default.
• W1994594865 hasAuthorship W1994594865A5088893168 @default.
• W1994594865 hasConcept C111472728 @default.
• W1994594865 hasConcept C11171543 @default.
• W1994594865 hasConcept C124952713 @default.
• W1994594865 hasConcept C138885662 @default.
• W1994594865 hasConcept C142362112 @default.
• W1994594865 hasConcept C15744967 @default.
• W1994594865 hasConcept C17744445 @default.
• W1994594865 hasConcept C199539241 @default.
• W1994594865 hasConcept C2776359362 @default.
• W1994594865 hasConcept C2778311575 @default.
• W1994594865 hasConcept C2780876879 @default.
• W1994594865 hasConcept C41895202 @default.
• W1994594865 hasConcept C94625758 @default.
• W1994594865 hasConceptScore W1994594865C111472728 @default.
• W1994594865 hasConceptScore W1994594865C11171543 @default.
• W1994594865 hasConceptScore W1994594865C124952713 @default.
• W1994594865 hasConceptScore W1994594865C138885662 @default.
• W1994594865 hasConceptScore W1994594865C142362112 @default.
• W1994594865 hasConceptScore W1994594865C15744967 @default.
• W1994594865 hasConceptScore W1994594865C17744445 @default.
• W1994594865 hasConceptScore W1994594865C199539241 @default.
• W1994594865 hasConceptScore W1994594865C2776359362 @default.
• W1994594865 hasConceptScore W1994594865C2778311575 @default.
• W1994594865 hasConceptScore W1994594865C2780876879 @default.
• W1994594865 hasConceptScore W1994594865C41895202 @default.
• W1994594865 hasConceptScore W1994594865C94625758 @default.
• W1994594865 hasIssue "4" @default.
• W1994594865 hasLocation W19945948651 @default.
• W1994594865 hasOpenAccess W1994594865 @default.
• W1994594865 hasPrimaryLocation W19945948651 @default.
• W1994594865 hasRelatedWork W1995529543 @default.
• W1994594865 hasRelatedWork W2313003875 @default.
• W1994594865 hasRelatedWork W2327515336 @default.
• W1994594865 hasRelatedWork W2372642775 @default.
• W1994594865 hasRelatedWork W2748952813 @default.
• W1994594865 hasRelatedWork W2884069151 @default.
• W1994594865 hasRelatedWork W2899084033 @default.
• W1994594865 hasRelatedWork W3200403690 @default.
• W1994594865 hasRelatedWork W4237667131 @default.
• W1994594865 hasRelatedWork W2999754529 @default.
• W1994594865 hasVolume "11" @default.
• W1994594865 isParatext "false" @default.
• W1994594865 isRetracted "false" @default.
• W1994594865 magId "1994594865" @default.
• W1994594865 workType "article" @default.