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Articles 1 - 6 of 6
Full-Text Articles in English Language and Literature
Review Of Eighteenth-Century Women’S Writing And The Methodist Media Revolution, By Andrew O. Winckles, Rebecca Nesvet
Review Of Eighteenth-Century Women’S Writing And The Methodist Media Revolution, By Andrew O. Winckles, Rebecca Nesvet
ABO: Interactive Journal for Women in the Arts, 1640-1830
No abstract provided.
Review Of Dale Townshend And Angela Wright, Eds., Ann Radcliffe, Romanticism And The Gothic, Ellen Malenas Ledoux
Review Of Dale Townshend And Angela Wright, Eds., Ann Radcliffe, Romanticism And The Gothic, Ellen Malenas Ledoux
ABO: Interactive Journal for Women in the Arts, 1640-1830
No abstract provided.
Anna Seward And The Sonnet: Milton's Champion, Claudia Thomas Kairoff
Anna Seward And The Sonnet: Milton's Champion, Claudia Thomas Kairoff
ABO: Interactive Journal for Women in the Arts, 1640-1830
No abstract provided.
Multiplying Worlds: Romanticism, Modernity, And The Emergence Of Virtual Reality, By Peter Otto, Stacey Kikendall
Multiplying Worlds: Romanticism, Modernity, And The Emergence Of Virtual Reality, By Peter Otto, Stacey Kikendall
ABO: Interactive Journal for Women in the Arts, 1640-1830
No abstract provided.
Populism, Gender, And Sympathy In The Romantic Novel, By James P. Carson, Elizabeth J. Mathews
Populism, Gender, And Sympathy In The Romantic Novel, By James P. Carson, Elizabeth J. Mathews
ABO: Interactive Journal for Women in the Arts, 1640-1830
No abstract provided.
“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 …