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• W2016440009 abstract "Reviewed by: Theater Figures: The Production of the Nineteenth-Century British Novel Renata Kobetts Miller (bio) Theater Figures: The Production of the Nineteenth-Century British Novel, by Emily Allen; pp. viii + 254. Columbus: The Ohio State University Press, 2003, $22.95. Few books that attempt to enact their arguments in their own writing achieve such engaging results as Emily Allen's Theater Figures. In examining how novelistic representation of theater and theatricality helped manage relations among novels, readers, and the market (12), this historical account of the nineteenth-century novel has a narrative energy that makes it stylistically attractive to readers as well as conceptually important. Theater Figures provides a new view into the nineteenth-century novel as a hotly contested field of subgenres by analyzing how the figure of theater was used to claim [End Page 542] cultural capital and literary value for individual novels competing with and distinguishing themselves from other types of novels (3). In addition to showing how writers used the figure of theater in order to construct generic, readerly, and authorial identities and in order to train audiences to read in specific ways, Allen traces novelists' responses to earlier author-book-audience configurations (106). Although the novel's use of theater turns against itself because theater reminds the novel of the very materiality it would like to forget (7), Allen emphasizes the ways that writers successfully defined their novels and consequently shaped the development of the genre. This historical narrative is only one of the ways in which Allen's work surpasses earlier studies that explore the relationship between the Victorian novel and the stage. Allen formulates cogent analyses of the interrelations among class, gender, reading, and genre as she explores what twentieth-century critics have come to see as the realist novel's most important—and contested—political projects: the construction of middle-class identity, the naturalization of female subjectivity, and the maintenance of the domestic sphere and points out that these 'private' projects all turned, however paradoxically, on the creation of a reading public, and it is this public...that the figure of theater both imperils and secures (3-4). According to Allen, the centrality of theater to the novel has much to do with the female reader, whose figure must negotiate the conflict between women's multiple ties to the voracious appetites of the market and the consuming fiction of women's private, readerly, removal from the public sphere (19). Allen's historical analysis reveals that the model of femininity that is displaced over and over again by the nineteenth-century ideal of domesticated, privatized, female subjectivity is a model that held particular sway in the eighteenth century, an account of woman as sexually voracious, highly changeable, and inherently theatrical (16). Therefore, theatrical genres were inextricably bound to outdated models of female nature and conduct in the nineteenth-century imagination and in the nineteenth-century novel, generic competition between the theater and the novel (and among novels) works to focus and manage competing representations of woman. This is also true the other way around— conflict between competing models of female gender works to focus and manage underlying generic conflicts (17). Allen's chronological study demonstrates dramatic reversals in the configurations of gender and genre, such as Geraldine Jewsbury's use of the actress in order to criticize the middle-class wife's confinement in the home and [reconstruct] domestic realism (123, 130). Beginning with Frances Burney's Evelina (1778) and concluding with George Moore's A Mummer's Wife (1885) because the dates of their publication roughly bracket...a certain heyday of middle-class ideology, Allen examines two or three novels in each chapter to better understand and illustrate the way individual novels position themselves through and against other forms (21-22). By ranging over an impressive array of novelistic subgenres, Allen illuminates formal distinctions as she foregrounds the gender wars and attitudes toward the literary market that underlay them; she also provides a dynamic view of the multiplicity of the Victorian novel and the ways in which novelists responded to earlier works. Allen's first two chapters, for example, examine Burney's and Jane Austen's feminizing privatization and domestication of..." @default.
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• W2016440009 date "2004-01-01" @default.
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• W2016440009 title "Theater Figures: The Production of the Nineteenth-Century British Novel (review)" @default.
• W2016440009 doi "https://doi.org/10.1353/vic.2004.0133" @default.
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