This book provides a comprehensive reading of Samuel Richardson's novels. Using a combination of literary theory and criminology, Christopher D. Johnson demonstrates that Richardson not only understood the horrific dynamics of domestic violence, but also recognized the degree to which his first novel, Pamela: or, Virtue Rewarded (1740) could inadvertently normalize abusive relationships. This recognition informed Richardson's subsequent novels and fueled his distrust of novelistic fiction, especially those comedic works that depend on sudden transformations. It also caused him to draw careful delineations between the practical instruction he hoped to provide and the ideals of his Christian faith, particularly as they pertain to earthly suffering and self-sacrifice. The Richardson who emerges from the study becomes both a staunch defender of what he saw as a benevolent patriarchy and a fierce advocate for women's subjectivity, happiness and safety.

Exploratory, investigative, and energetically analytical, 1650–1850 covers the full expanse of long eighteenth-century thought, writing, and art while delivering abundant revelatory detail. Essays on well-known cultural figures combine with studies of emerging topics to unveil a vivid rendering of a dynamic period, simultaneously committed to singular genius and universal improvement. Welcoming research on all nations and language traditions, 1650–1850 invites readers into a truly global Enlightenment. Topics in volume 29 include Samuel Johnson’s notions about the education of women and a refreshing account of Sir Joseph Banks’s globetrotting. A guest-edited, illustration-rich, interdisciplinary special feature explores the cultural implications of water. As always, 1650–1850 culminates in a bevy of full-length book reviews critiquing the latest scholarship on long-established specialties, unusual subjects, and broad reevaluations of the period. Published by Bucknell University Press, distributed worldwide by Rutgers University Press.

This book concerns two men, a stockingmaker and a magistrate, who both lived in a small English village at the turn of the nineteenth century. It focuses on Joseph Woolley the stockingmaker, on his way of seeing and writing the world around him, and on the activities of magistrate Sir Gervase Clifton, administering justice from his country house Clifton Hall. Using Woolley's voluminous diaries and Clifton's magistrate records, Carolyn Steedman gives us a unique and fascinating account of working-class living and loving, and getting and spending. Through Woolley and his thoughts on reading and drinking, sex, the law and social relations, she challenges traditional accounts which she argues have overstated the importance of work to the working man's understanding of himself, as a creature of time, place and society. She shows instead that, for men like Woolley, law and fiction were just as critical as work in framing everyday life.

This book argues for the critical potential of locating the girl as the subject-position and voice of legal critique. Law’s imaginary is notoriously limited in its ways of thinking through and adjudicating gender violence. This book argues that ‘the girl’ is a key figure through which to understand, theorise, and challenge law’s relation to this violence. Law, Culture and the Figure of the Girl explains the meaning and significance of the figure of the girl to legal, political, and critical projects centred on trauma and responsibility. The book offers new readings of exemplary cultural texts that thematically deal with law’s adjudication of violence against girls, emphasising the ways these texts challenge dominant ways of thinking and doing law, jurisdiction, violence, race, and gender. The book also explores radical cultural figurations of the girl in fiction, films, and TV series and demonstrates the critical potential of these works in understanding and providing counter-narratives to dominant legal and cultural imaginaries. These works provide ways not only to critique existing law but to theorise emergent forms of law-making. This book will be of interest to scholars in the areas of cultural legal studies, law and literature, feminist legal studies, and cultural studies. It will also be suitable as a prescribed text for upper undergraduate classes and graduate studies in the disciplines of law, legal studies, cultural studies, and criminology.

Jane Austen and Masculinity is an eclectic collection of contemporary scholarship addressing the representation of men and masculinity in the fiction and popular adaptations of Austen. This anthology includes work by a variety of esteemed and emergent Austen scholars from around the world who engage in a dialogue on critical questions surrounding her fictional treatment of men and masculinity, such as historical (post-French Revolutionary) changes in social expectations for men and women, brothers and fathers, male lovers, soldiers and the military, queer and alternative sexualities, violence, and male devotees of Austen. The collection addresses Austen’s fiction, including her juvenilia, as well as the ongoing popular appeal of her work and the enduring Austen vogue. The work in this anthology builds on established critical discourses in Austen scholarship as well as important conversations in Masculinity Studies.

From Daniel Defoe’s Family Instructor to William Godwin’s political novel Caleb Williams, literature written for and about servants tells a hitherto untold story about the development of sexual and gender ideologies in the early modern period. This original study explores the complicated relationships between domestic servants and their masters through close readings of such literary and nonliterary eighteenth-century texts. The early modern family was not biologically defined. It included domestic servants who often had strong emotional and intimate ties to their masters and mistresses. Kristina Straub argues that many modern assumptions about sexuality and gender identity have their roots in these affective relationships of the eighteenth-century family. By analyzing a range of popular and literary works—from plays and novels to newspapers and conduct manuals—Straub uncovers the economic, social, and erotic dynamics that influenced the development of these modern identities and ideologies. Highlighting themes important in eighteenth-century studies—gender and sexuality; class, labor, and markets; family relationships; and violence—Straub explores how the common aspects of human experience often intersected within the domestic sphere of master and servant. In examining the interpersonal relationships between the different classes, she offers new ways in which to understand sexuality and gender in the eighteenth century.

Today, in the era of the spoiler alert, "surprise" in fiction is primarily associated with an unexpected plot twist, but in earlier usage, the word had darker and more complex meanings. Originally denoting a military ambush or physical assault, surprise went through a major semantic shift in the eighteenth century: from violent attack to pleasurable experience, and from external event to internal feeling. In Surprise, Christopher R. Miller studies that change as it took shape in literature ranging from Paradise Lost through the novels of Jane Austen. Miller argues that writers of the period exploited and arbitrated the dual nature of surprise in its sinister and benign forms. Even as surprise came to be associated with pleasure, it continued to be perceived as a problem: a sign of ignorance or naïveté, an uncontrollable reflex, a paralysis of rationality, and an experience of mere novelty or diversion for its own sake. In close readings of exemplary scenes--particularly those involving astonished or petrified characters--Miller shows how novelists sought to harness the energies of surprise toward edifying or comic ends, while registering its underpinnings in violence and mortal danger. In the Roman poet Horace's famous axiom, poetry should instruct and delight, but in the early eighteenth century, Joseph Addison signally amended that formula to suggest that the imaginative arts should surprise and delight. Investigating the significance of that substitution, Miller traces an intellectual history of surprise, involving Aristotelian poetics, Cartesian philosophy, Enlightenment concepts of the passions, eighteenth-century literary criticism and aesthetics, and modern emotion theory. Miller goes on to offer a fresh reading of what it means to be "surprised by sin" in Paradise Lost, showing how Milton's epic both harks back to the symbolic functions of violence in allegory and looks ahead to the moral contours of the novel. Subsequent chapters study the Miltonic ramifications of surprise in the novels of Defoe, Haywood, Richardson, Fielding, and Sterne, as well as in the poems of Wordsworth and Keats. By focusing on surprise in its inflections as emotion, cognition, and event, Miller's book illuminates connections between allegory and formal realism, between aesthetic discourse and prose fiction, and between novel and lyric; and it offers new ways of thinking about the aesthetic and ethical dimensions of the novel as the genre emerged in the eighteenth century.