Andere Kunden interessierten sich auch für
![Revolutionary Subjects in the English 'Jacobin' Novel, 1790-1805]( "Revolutionary Subjects in the English 'Jacobin' Novel, 1790-1805")
Revolutionary Subjects in the English 'Jacobin' Novel, 1790-1805135,99 €![Bachelors, Manhood, and the Novel, 1850-1925]( "Bachelors, Manhood, and the Novel, 1850-1925")
Bachelors, Manhood, and the Novel, 1850-192596,99 €![Religion, Toleration, and British Writing, 1790 1830]( "Religion, Toleration, and British Writing, 1790 1830")
Religion, Toleration, and British Writing, 1790 1830125,99 €![The Legacy of the Moral Tale: Children's Literature and the English Novel, 1744-1859]( "The Legacy of the Moral Tale: Children's Literature and the English Novel, 1744-1859")
The Legacy of the Moral Tale: Children's Literature and the English Novel, 1744-185956,99 €![Incest and the English Novel, 1684-1814]( "Incest and the English Novel, 1684-1814")
Incest and the English Novel, 1684-181456,99 €![A Cultural History of the American Novel, 1890 1940]( "A Cultural History of the American Novel, 1890 1940")
A Cultural History of the American Novel, 1890 1940107,99 €![U.S. Women Writers and the Discourses of Colonialism, 1825-1861]( "U.S. Women Writers and the Discourses of Colonialism, 1825-1861")
U.S. Women Writers and the Discourses of Colonialism, 1825-186134,99 €
Whatever happened to the epistolary novel? Why was it that by 1825 the principal narrative form of eighteenth-century fiction had been replaced by the third-person and often historicized models which have predominated ever since? Nicola Watson's original and wide-ranging study charts the suppression of epistolary fiction, exploring the attempted radicalization of the genre by Wollstonecraft and other feminists in the 1790s; its rejection and parody by Jane Austen and Maria Edgeworth: the increasingly discredited role played by letters in the historical novels of Jane Porter, Sydney Morgan, and Walter Scott; and their troubling, ghostly presence in the gothic narratives of James Hogg and Charles Maturin. The shift in narrative method is seen as a response to anxieties about the French Revolution, with the epistolary, feminized, and sentimental plot replaced by a more authoritarian third-person mode as part of a wider redrawing of the relation between the individual and social consensus. This is a brilliant and innovative reading of the place of the novel in the reformulation of British national identity in the Napoleonic period, throwing new light on writers as diverse as Hazlitt, Charlotte Smith, Walter Scott, Helen Maria Williams, and Byron.