scholarly journals Refocusing the Gendered Gaze

2010 ◽  
Vol 15 ◽  
Author(s):  
John C. Murray
Keyword(s):  
Eighteenth Century ◽  
Daniel Defoe ◽  
Gender Ideology ◽  
Object Relation ◽  
The Novel ◽  
Economic Individualism ◽  
Dominant Ideologies ◽  
Moll Flanders ◽  
The Subject ◽  
Gendered Gaze

Daniel Defoe makes use of subject-object patterns within his novel Moll Flanders in order to produce ruptures within eighteenth-century gender ideology and to reconstitute the subject-object relation between masculine and feminine within the novel. Even as Defoe affirms the dominance of gender ideology by positioning his readers as objects of the novel, Defoe uses his character of Moll Flanders to suggest the potential for transforming ideology through the performative act of gender. As Moll struggles to link fragments of her past, she explores the boundaries of gender identity and transgresses their limits in order to achieve movement within eighteenth century society. How Moll negotiates her conceptions and interpretations of her relation to her natural, cultural, and psychological landscapes suggests her success in tracing the presence of an identity that would inform and sustain the self by allowing her to assert a sense of economic individualism, which might release her from any moral obligation to the pervasive and dominant ideologies affecting gender in the eighteenth century.

scholarly journals The Inner Quandary of Woman in Daniel Defoe’s Moll Flanders

2021 ◽  
Vol 9 (3) ◽  
pp. 46-49
Author(s):  
T R Deepak
Keyword(s):  
Eighteenth Century ◽  
English Literature ◽  
Daniel Defoe ◽  
Female Character ◽  
The Novel ◽  
Female Protagonist ◽  
Moll Flanders ◽  
Feminist Movements ◽  
Shed Light

Daniel Defoe is an enchanted incinerator of English literature sprung during the initial years of eighteenth century. His applauded Moll Flanders (1722) is professed as picaresque in literary vegetation. He has emotionally painted the commotion of a solitary, imprudent and prevalent female distinct against an inimical and droopy humanity. As a matter of datum, the female chief strolls into the alleyway of assorted catastrophes. She has borne the humanity either in an orthodox or warped mundane. All these archetypes of women have shed light in the fiction even before the initiation of feminist movements athwart the realm. These movements have engrossed the intellect of community and sedated as operational. At regular intervals, these have performed more elegant and redundant than being operative.Moll Flanders is not a typical incarnation of feminist thoughts. It has never strained to sketch an itinerary for the relegated female personality to outshine her eccentricity. Yet, it is indubitably pro-woman and reconnoiters a female character with the reputation of protagonist. The farsighted image of woman with grander tenets of empathy and sympathy is blossomed. In the contemporary habitat, the novel may not seem like far-reaching as it pushes the female lead to imitate and regret with ceaseless kinks and contraventions. But the novelist is ahead of his epoch in aiding his female protagonist to gallop and endure the probabilities amidst dejection and misfortunes. Hence, the research ornate has through an endeavour to enchant the inner quandary of woman in a masculine captivated sophistication with reference to Daniel Defoe’s Moll Flanders.

Moll Flanders

2011 ◽  
Author(s):  
Daniel Defoe
Keyword(s):  
Eighteenth Century ◽  
English Language ◽  
Daniel Defoe ◽  
Title Page ◽  
Adoptive Family ◽  
Moll Flanders ◽  
Early Eighteenth Century

‘Twelve Year a Whore, fives times a Wife (whereof once to her own Brother), Twelve Year a Thief, Eight Year a Transported Felon in Virginia, at last grew Rich, liv'd Honest, and died a Penitent’: so the title page of this extraordinary novel describes the career of the woman known as Moll Flanders, whose real name we never discover. And so, in a tour-de-force of writing by the businessman, political satirist, and spy Daniel Defoe, Moll tells her own story, a vivid and racy tale of a woman's experience in the seamy side of life in late seventeenth- and early eighteenth-century England and America. Born in Newgate prison, and seduced in the home of her adoptive family, she learns to live off her wits, defying the traditional depiction of women as helpless victims. First published in 1722, and one of the earliest novels in the English language, its account of opportunism, endurance, and survival speaks as strongly to us today as it did to its original readers.

Orlando’s Celebration of “prose not verse”

2021 ◽  
pp. 136-163
Author(s):  
Emily Kopley
Keyword(s):  
Eighteenth Century ◽  
Literary History ◽  
Daniel Defoe ◽  
The Novel ◽  
Long Poem ◽  
Title Character

In Woolf’s literary history, the eighteenth century saw the male writer and poetry begin to cede power and popularity to the female writer and the novel. Orlando (1928) personifies this literary history with the title character, a nobleman-poet who turns from man to woman in the eighteenth century, while his/her poetry turns from tolerable to bathetic. Some of the adventures of the newly female Orlando take their inspiration from the novels of Daniel Defoe and the life of Lady Mary Wortley Montagu. Woolf draws on Defoe and Lady Montagu to underscore the mutual ascent of women and prose. Orlando is based primarily, of course, on Vita Sackville-West. Allusions in the novel to Sackville-West’s long poem The Land (1926) betray Woolf’s dim view of her lover’s poetry and the conventional, sentimental poet figure more generally, and argue that a woman poet after the eighteenth century writes in a form poorly suited to her era and her sex.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse

2020 ◽  
Vol 65 (2) ◽  
pp. 297-319
Author(s):  
Aluaș Alina
Keyword(s):  
Text Processing ◽  
Careful Analysis ◽  
The Novel ◽  
Work Analysis ◽  
Personal Myth ◽  
The Subject

"The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film. Keywords: love, eroticism, delicacy, theatricality, scenario, film. "

Historical Fragments’ Mobile Echo

Transfers ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 115-119 ◽  
Author(s):  
Susan E. Bell ◽  
Kathy Davis
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Revolution ◽  
Ming Dynasty ◽  
Third Century ◽  
Refugee Crisis ◽  
The Third ◽  
Opium War ◽  
The Subject

Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Second Opium War in the nineteenth century, the Chinese Cultural Revolution of the mid-twentieth century, and today’s global refugee crisis.

The Laws of Hammurabi

2020 ◽  
Author(s):  
Pamela Barmash
Keyword(s):  
Eighteenth Century ◽  
Roman Law ◽  
Intellectual Culture ◽  
Biblical Law ◽  
Intellectual Tradition ◽  
Legal Principles ◽  
Copernican Revolution ◽  
The Subject ◽  
The Law

The Laws of Hammurabi is one of the earliest law codes, dating from the eighteenth century BCE Mesopotamia (ancient Iraq). It is the culmination of a tradition in which scribes would demonstrate their legal flair by composing statutes on a repertoire of traditional cases, articulating what they deemed just and fair. The book describes how the scribe of the Laws of Hammurabi advanced beyond earlier scribes in composing statutes that manifest systematization and implicit legal principles. The scribe inserted the statutes into the structure of a royal inscription, skillfully reshaping the genre. This approach allowed the king to use the law code to demonstrate that Hammurabi had fulfilled the mandate to guarantee justice enjoined upon him by the gods, affirming his authority as king. This tradition of scribal improvisation on a set of traditional cases continued outside of Mesopotamia, influencing biblical law and the law of the Hittite Empire and perhaps shaping Greek and Roman law. The Laws of Hammurabi is also a witness to the start of another stream of intellectual tradition. It became a classic text and the subject of formal commentaries, marking a Copernican revolution in intellectual culture.

Clausewitz and the Eighteenth-Century Context of Partisan Warfare

2018 ◽  
Author(s):  
Sibylle Scheipers
Keyword(s):  
Eighteenth Century ◽  
Intellectual Development ◽  
Small Wars ◽  
System P ◽  
The Subject ◽  
Partisan Warfare

Clausewitz was an ardent analyst of partisan warfare. In 1810 and 1811, he lectured at the Berlin Kriegsschule, the war academy, on the subject of small wars. Clausewitz’s lectures focused on the tactical nature of small wars. However, the eighteenth-century context was by no means irrelevant for Clausewitz’s further intellectual development. On the contrary, he extrapolated from his analysis of the tactical nature of small wars their strategic potential, as well as their exemplary nature for the study of war as such. The partisan, in Clausewitz’s eyes, possessed exemplary qualities in that he acted autonomously and, in doing so, had to draw upon all his human faculties. As such, he was the paradigmatic antagonist to the regular soldier who displayed a ‘cog mentality’ fostered by the Frederickian military system.

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.

The Female Quixote

2008 ◽  
Author(s):  
Charlotte Lennox ◽  
Margaret Anne Doody
Keyword(s):  
Eighteenth Century ◽  
Women's Literature ◽  
Samuel Johnson ◽  
The Novel ◽  
Charlotte Lennox

The Female Quixote (1752), a vivacious and ironical novel parodying the style of Cervantes, portrays the beautiful and aristocratic Arabella, whose passion for reading romances leads her into all manner of misunderstandings. Praised by Fielding, Richardson and Samuel Johnson, the book quickly established Charlotte Lennox as a foremost writer of the Novel of Sentiment. With an excellent introduction and full explanatory notes, this edition will be of particular interest to students of women's literature, and of the eighteenth-century novel.

Sign in / Sign up

Export Citation Format

Share Document