By Marshall Brown
Seen as a crucible of modernity, the eighteenth century has turn into a unique concentration of recent Language Quarterly, a magazine that has led the revival of literary background as an issue for empirical research and theoretical mirrored image. The essays during this quantity, which conceal a large cross-section of eighteenth-century literary heritage, signify the easiest reports of this era lately released in MLQ. whereas reading diverse elements of the century, in addition to diverse points and international locations, participants discover the intersection of literary stories with background, philosophy, psychology, and the visible arts. They talk about an artistic diversity of subject matters, together with feminism, nationalism, household ideology, the classical novel–drama–lyric poetry triad, and either aesthetic and philosophical writings. This span of matters and techniques extends the point of interest of Eighteenth-Century Literary heritage past its interval to venture a spirit of inquiry onto literary heritage in general.Contributors. Nancy Armstrong, Marshall Brown, Sanford Budick, Catherine Gallagher, Thomas M. Kavanagh, Jon Klancher, Jill Kowalik, Jonathan Brody Kramnick, Christie McDonald, Jerome McGann, Ruth Perry, Michael B. Prince, Leonard Tennenhouse
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Extra resources for Eighteenth-Century Literary History: An MLQ Reader
Dw 44 1/30/03 9:57 AM Page 44 Jonathan Brody Kramnick critics, however, understood the rise of the novel to generic stability and that of Shakespeare to the pinnacle of the vernacular canon within an overall sense of cultural transformation. ”3 Perhaps feeling that weight, the Shakespearean critic John Upton complained in 1748 that “the manly and nervous Shakespeare and Milton . . so little please our effeminate taste” and situated them speciﬁcally against novels and contemporary drama. ”4 The opposition between Shakespeare and the novel culminated in the controversy surrounding Charlotte Lennox’s critical text, Shakespeare Illustrated (1753).
See among others Nancy Armstrong, Desire and Domestic Fiction: A Political History of the Novel (New York: Oxford University Press, 1987); John B. Bender, Imagining the Penitentiary: Fiction and the Architecture of Mind in Eighteenth-Century England (Chicago: University of Chicago Press, 1987); Lennard J. Davis, Factual Fictions: The Origins of the English Novel (New York: Columbia University Press, 1983); J. : Johns Hopkins University Press, 1987); and Patricia Meyer Spacks, Desire and Truth: Functions of Plot in Eighteenth-Century English Novels (Chicago: University of Chicago Press, 1990).
By analogy, then, one does not read because one is middle class; one is middle class because one reads. Foucault claims that modern sexual desire began in prose and passed into speech, where it was used to interpret behavior. In this capacity, writing eventually gave rise to thoughts, feelings, wishes, and dreams. Matthew Arnold, for one, existed at the moment when it became impossible to ignore the degree to which words and images had displaced feelings and things and determined how one carried on relations both with other people and with the world of objects.