Fashioning fictional selves from French sources
Eliza Haywood’s Love in Excess
in Writing and constructing the self in Great Britain in the long eighteenth century
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Over the course of the seventeenth century, French thought developed a rich and finely textured language of the self. English writers of turn-of-the-century England, and most significantly women, drew on that language in their imitations of the French ‘nouveaux romans’ of the last three decades of the seventeenth century. This provenance explains key features of the representation of self, and of the individual’s interaction with others, that we find in this fiction: the self of self-interest, the empire of passion over reason and the consequent torments only truly experienced by ‘nobler spirits’, and the importance of affective states which escape the perception of the perceiving subject. This chapter demonstrates the importance of this French language and perception of the self to an understanding of the early novelists in a close reading of Eliza Haywood’s Love in Excess (1719).

Metrics

All Time Past Year Past 30 Days
Abstract Views 32 5 0
Full Text Views 22 0 0
PDF Downloads 4 0 0