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Full-Text Articles in Arts and Humanities
“A Tragic Farce: Revolutionary Women In Elizabeth Inchbald’S The Massacre And European Drama.” European Romantic Review 17.3 (Summer 2006): 275-88., Wendy Nielsen
Department of English Faculty Scholarship and Creative Works
This essay examines Elizabeth Inchbald’s treatment of French Revolutionary women and relationship to European drama in order to appreciate the implications of tragic writing for British women playwrights. Focusing on Inchbald’s connections to French culture and English theater in late 1792 and early 1793 elucidates the self‐censoring and generic conventions of her only tragedy, The Massacre. Events in France like the September Massacres unsettled Burkean notions of femininity and raised the possibility of female violence. This mixing of traditional gender characteristics resembles discourse about Inchbald’s dramas as neither tragic, comic, nor tragicomic. The genre of tragic farce describes Inchbald’s revisions …
The Reality Of Artifice: Villiers De L'Isle Adam's L'Eve Future And The Anxiety Of Reproduction, Boyd J. Petersen
The Reality Of Artifice: Villiers De L'Isle Adam's L'Eve Future And The Anxiety Of Reproduction, Boyd J. Petersen
Boyd J Petersen
First, Villier's L'Eve future employs a poetics of confusion, calling into question binary oppositions and destabilizing the narrative. Second, the novel is concerned with the production of art in a technological age, calling into question the notion of an "original" in a world of technological reproduction. Third, the novel is concerned with the ethics of male desire and the construction of women's bodies. Finally, the text critiques the emerging scientific worldview as an alternate religion, requiring faith, administering sacraments, and officiating rituals.
Digital Romanticism In The Age Of Neo-Luddism: The Romantic Circles Experiment, Steven Jones
Digital Romanticism In The Age Of Neo-Luddism: The Romantic Circles Experiment, Steven Jones
English: Faculty Publications and Other Works
The Romantic Circles Website, along with a number of other major projects in digital Romanticism, came online around 1995, a historical moment that also saw the emergence of neo-Luddism, in part as a reaction to the techno-hype of the Internet boom. At the time. neo-Luddites often claimed as a precedent the original historical Luddism of 1811-16, but they usually also Romanticized that collective labor subculture to fit their own late-twentieth-century ideas of “technology.” This essay looks back at the interlinked assumptions in the air around 1995–neo-Luddite and Romantic–as the context out of which Romantic Circles defined its own engaged experiment …
“Passions That Were Not My Own”: Critique And Preservation Of True Pastoral Life In Wordsworth’S “Michael”, Katie Homar
“Passions That Were Not My Own”: Critique And Preservation Of True Pastoral Life In Wordsworth’S “Michael”, Katie Homar
The Oswald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English
No abstract provided.