scholarly journals Traces of Scheherazade in Margaret Drabble’s The Red Queen: A Transcultural Intertextual Reading

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Bushra Juhi Jani ◽  
Keyword(s):  
Eighteenth Century ◽  
Cross Cultural ◽  
The Novel ◽  
Red Queen ◽  
Arabian Nights ◽  
Margaret Drabble ◽  
History Of ◽  
The Red Queen

This paper examines the transcultural intertextual influence of Scheherazade, the legendary queen and the storyteller of The Thousand and One Nights, on Drabble’s The Red Queen (2004), which has a subtitle, “A Transcultural Tragicomedy.” It discusses how an appropriation of Scheherazade was utilized by Margaret Drabble in writing, The Red Queen. “But appropriation is what novelists do,” Drabble writes in the “Prologue” of her novel, adding, “whatever we write is, knowingly or unknowingly, a borrowing. Nothing comes from nowhere.” This paper is a syncretic reading of The Red Queen to show the universality of womanhood and cross-cultural parallels. In this novel, which is based on the memoirs of an eighteenth-century Korean crown princess known as Lady Hong or Lady Hyegy?ng, the protagonist comes from the history of the East, just like Scheherazade, “to retell [her] story.” Also like Scheherazade who narrates stories in order to live, the Korean Princess uses storytelling as a strategy for survival. Moreover, the intentions of the novel can be seen in a feminist tradition of historiographic metafictional re-workings of the Orient and the Arabian Nights.

Restoration Theatre and the Novel

2018 ◽  
Author(s):  
Jenny Davidson
Keyword(s):  
Eighteenth Century ◽  
Literary Form ◽  
The Novel ◽  
Cultural Transition ◽  
Strong Affinity ◽  
History Of ◽  
Restoration Theatre ◽  
Restoration Comedy ◽  
London Stage

This chapter explores the broad cultural transition from drama to novel during the Restoration period, which triggered one of the most productive periods in the history of the London stage. However, when it comes to the eighteenth century proper, the novel is more likely to be identified as the century's most significant and appealing popular genre. The chapter considers why the novel has largely superseded drama as the literary form to which ambitious and imaginative literary types without a strong affinity for verse writing would by default have turned their attention and energies by the middle of the eighteenth century. Something important may have been lost in the broad cultural transition from drama to novel. This chapter, however, contends that many things were preserved: that the novel was able to absorb many of the functions and techniques not just of Restoration comedy but of the theatre more generally.

Tom Jones

2008 ◽  
Author(s):  
Henry Fielding
Keyword(s):  
Eighteenth Century ◽  
Public Sphere ◽  
The Novel ◽  
Fourth Edition ◽  
Tom Jones ◽  
History Of

Fielding's comic masterpiece of 1749 was immediately attacked as `A motley history of bastardism, fornication, and adultery'. Indeed, his populous novel overflows with a marvellous assortment of prudes, whores, libertines, bumpkins, misanthropes, hypocrites, scoundrels, virgins, and all too fallible humanitarians. At the centre of one of the most ingenious plots in English fiction stands a hero whose actions were, in 1749, as shocking as they are funny today. Expelled from Mr Allworthy's country estate for his wild temper and sexual conquests, the good-hearted foundling Tom Jones loses his money, joins the army, and pursues his beloved across Britain to London, where he becomes a kept lover and confronts the possibility of incest. Tom Jones is rightly regarded as Fielding's greatest work, and one of the first and most influential of English novels. This carefully modernized edition is based on Fielding's emended fourth edition text and offers the most thorough notes, maps, and bibliography. The introduction uses the latest scholarship to examine how Tom Jones exemplifies the role of the novel in the emerging eighteenth-century public sphere.

scholarly journals CROSS-CULTURAL LITERATURE AND CULTURAL REPRODUCTION: THE CASE OF THE KOREAN AUTOBIOGRAPHY HANJUNGNOK

2019 ◽  
Vol 4 ◽  
pp. 57-87
Author(s):  
Kyu Hyun PARK
Keyword(s):  
Language Use ◽  
Family Relations ◽  
Cross Cultural ◽  
Historical Event ◽  
Cultural Reproduction ◽  
Korean Literature ◽  
British Novel ◽  
Margaret Drabble ◽  
Language And Literature ◽  
The Red Queen

This paper is an investigation how cultural perception could be embedded in language and literature and how this helps different analyses on a same historical event. The article includes the comparison between a work of classical Korean literature, Hanjungnok (한중록), and an English-translated version of it, The Memoirs of Lady Hyekyŏng, translated by Kim-Haboush, and a work of a British novel, The Red Queen, written by Margaret Drabble. The comparison is to explore the language use regarding a perception of family relations and of gender in each version of writing. This paper concludes that authors’ and audience’s language and cultural background would influence on perceiving and analysing literature and its context so that each interpretation could be differentiated, even with the actual historical event.

scholarly journals Emotions vocabulary and the reconceptualisation of emotions in Ann Radcliffe’s “The Italian, or the Confessional of the Black Penitents”

2019 ◽  
Vol 5 (1) ◽  
pp. 40-58
Author(s):  
Elena D. Andonova-Kalapsazova
Keyword(s):  
Eighteenth Century ◽  
David Hume ◽  
Adam Smith ◽  
Emotional Experience ◽  
Close Reading ◽  
The Novel ◽  
Emotional Experiences ◽  
Critical Studies ◽  
Francis Hutcheson ◽  
History Of

The article undertakes the analysis of Ann Radcliffe’s novel The Italian, or the Confessional of the Black Penitents (1797) from a history of literary emotions perspective which, I argue, yields insights into the attitudes towards emotions embedded in Radcliffe’s works. A reading of the novel from such a perspective also complements the critical studies of the artist’s engaging with the eighteenth-century cult of sensibility. The novel is read as a text that registered but also participated in the dissemination of an epistemology of emotional experience articulated in the idiom of eighteenth-century moral philosophers – Francis Hutcheson, David Hume and Adam Smith - at the same time as it retained some of the older, theology-based conceptions of passions and affections. The dynamic in which the two frameworks for understanding the emotions exist in the novel is explored through a close reading of the vocabulary in which Radcliffe rendered the emotional experiences of her fictional characters. In this reading it is the passions which are found to have been invested with a variety of meanings and attributed a range of moral valences that most noticeably foreground the movement from a generally negative towards a more complex appreciation of powerful emotions.

At the Gates of Realism

2014 ◽  
Vol 1 (2) ◽  
pp. 293-297
Author(s):  
Sunil Agnani
Keyword(s):  
Eighteenth Century ◽  
The Novel ◽  
History Of The Novel ◽  
Cultural Products ◽  
European Literature ◽  
Investigative Tool ◽  
History Of

Enlightenment Orientalism rewrites the history of the novel by restoring consideration of a range of texts (and overlooked aspects of oft-read works) systematically excluded because they failed to fit existing notions of domestic realism. Aravamudan anchors his alternative genealogy in more capacious conceptions of the novel and inverts the usual understanding of Orientalism as restrictive stereotype to instead ask why Orientalism was so productive of cultural products in European literature. The subgenre of enlightenment Orientalism evinces a heteroglossia that exceeds national realism, and recuperating this broader fictional landscape allows readers to recognize a range of texts otherwise taken to be strange because it falls between genres (transgeneric) or between national spaces (intercultural). Taking the novel to be a cultural transportation device, Aravamudan describes this broader fictional ensemble as an investigative tool that is an alternative to the nation-centered novel after the mid-eighteenth century.

Frances Burney and the Art of Accident

2019 ◽  
Vol 52 (3) ◽  
pp. 425-441
Author(s):  
Katarina O'Briain
Keyword(s):  
Eighteenth Century ◽  
Human Condition ◽  
The Novel ◽  
Frances Burney ◽  
History Of The Novel ◽  
Late Capitalism ◽  
Unexpected Events ◽  
History Of ◽  
The Human Condition

Abstract This article argues that Frances Burney's long, diffuse works of fiction develop an ethics of accident within the history of the novel. Whereas critics from the eighteenth century to today have privileged “art”—in the sense of careful, deliberate skill and conduct—as a crucial marker of human character, Burney insists on filling her novels with a succession of unexpected events and a multitude of characters surprised by their own actions. By refusing to treat accident as a mistake to be improved upon—in the realm of either characterological conduct or authorial craft—Burney posits an ethics of the novel that treats matters of chance and modes of depleted agency as central aspects of the human condition rather than as markers of moral or aesthetic failure. Setting Burney's texts within ascendant modes of economy and finance in the eighteenth century, the article suggests that this ethics marks a key change within the rise of the novel that continues well into late capitalism.

Making Publics and Making Novels

2013 ◽  
Author(s):  
Brian Cowan
Keyword(s):  
Eighteenth Century ◽  
Public Sphere ◽  
Structural Transformation ◽  
Literary Culture ◽  
The Novel ◽  
The Public ◽  
English Novel ◽  
Political Partisanship ◽  
History Of ◽  
The Public Sphere

The two most influential works for the study of eighteenth-century literary culture in the last half-century must surely be Ian Watt’s The Rise of the Novel (1957) and Jürgen Habermas’s The Structural Transformation of the Public Sphere (1962). This essay discusses the influence of both Watt and Habermas on studies of the novel and the public sphere, and it explores the reasons for the endurance of their arguments despite decades of substantial criticism devoted to their interpretative shortcomings. It also explains the emergence of a post-Habermasian approach to the history of public-making in response to these criticisms. It concludes by discussing how recent post-Habermasian studies of news culture and political partisanship may illuminate the history of the origins of the English novel.

The Stage Career of Eliza Haywood

1964 ◽  
Vol 5 (2) ◽  
pp. 107-116 ◽  
Author(s):  
John R. Elwood
Keyword(s):  
Eighteenth Century ◽  
Jonathan Swift ◽  
Henry Fielding ◽  
Woman Writer ◽  
Eliza Haywood ◽  
The Novel ◽  
Domestic Novel ◽  
History Of ◽  
Early Eighteenth Century ◽  
The Way

Female playwrights of varying degrees of quality were reasonably plentiful in late seventeenth and early eighteenth century England; but, except for Eliza Haywood, few of these playwrights doubled as actresses, at least with sufficient success for us to be aware of their talents. Even the stage career of Mrs. Haywood, one extending at least from 1715 to 1737, has not been documented in its entirety before now. It deserves attention because it adds some details to the scanty biography of this woman who is best known as a novelist, a novelist who turned out scandal chronicles long before Richardson made the novel morally acceptable, and who in 1751 produced what may be the first domestic novel in English,The History of Miss Betsy Thoughtless. Along the way she had some success as a publisher, as the first woman writer of a periodical for women, as a poet, and as a playwright and actress. It was her efforts in the theater that drew the attention of such men as Jonathan Swift and Richard Savage and brought her into a rather lengthy association with Henry Fielding. And it was her theatrical experience that contributed much to her eventual skill as a novelist. She liked the stage, and much of what we like in her later work she owed to the stage.

Electric Signals: Emotional Currents, Cultural Conduits, Social Voltage and Power Generation in Eighteenth-Century Cultural Encounters

2019 ◽  
Vol 3 (1) ◽  
pp. 47-71
Author(s):  
Nicole Eustace
Keyword(s):  
Eighteenth Century ◽  
Cross Cultural ◽  
Cultural Encounters ◽  
History Of Emotions ◽  
History Of ◽  
The Individual ◽  
Natural Philosophers ◽  
Cultural Negotiations ◽  
Electric Signals ◽  
Current Resistance

Abstract In the middle of the eighteenth century, natural philosophers began to posit connections between emotion and electricity. The metaphors they explored then have continued methodological implications for scholars today. The electrical concepts of current, resistance, voltage, and power, provide an extended metaphor for conceptualising the history of emotions in ways that usefully bridge the biological and cultural, the individual and social, in order to more fully reveal historical links between emotion and power. By way of example, this article examines cross-cultural negotiations of power made possible through the expression, exchange, and evaluation of grief as recorded in the diary of a British-American Quaker woman who lived among Indians in the Pennsylvania borderlands in the midst of the Seven Years’ War.

Stories without Plots

2020 ◽  
pp. 134-194
Author(s):  
Elizabeth Hewitt
Keyword(s):  
Eighteenth Century ◽  
American Literature ◽  
Charles Brockden Brown ◽  
Global Capitalism ◽  
The Novel ◽  
Economic Relations ◽  
Judith Sargent Murray ◽  
Philip Freneau ◽  
History Of ◽  
Periodical Essay

This chapter explains how the eighteenth-century genre of the periodical essay describes the modern economy as a complex system. Specifically distinguishing itself from the novel, the periodical (or Addisonian) essay narrates economic causality as multiplex and contingent: economic relations cannot be plotted around individual protagonists. The chapter offers a history of the importance of the periodical essay in American literature, and specifically focuses on the examples of the genre by Philip Freneau, Judith Sargent Murray, and Charles Brockden Brown. Although these writers represent very different ideological positions, they each use the generic affordances of the periodical essay to depict the intricate dependencies that constitute global capitalism. The periodical essay thus presents a belletristic form that functions similarly to Hamilton’s policy writing: speculative fictions that narrate the possible consequences that descend from individual moments of production, exchange, and consumption.

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