Chatterjee argues that Fenwick in Secresy (1795) uses images of lesbian desire in order to challenge the then prevailing models of gender. Fenwick‘s associations with such Jacobins as William Godwin, Mary Wollstonecraft, and Mary Hays underline her radical credentials, and Chatterjee argues that Secresy develops feminist ideas drawn from Wollstonecraft. However she also argues that the novels focus on same-sex desire challenges the whole notion of gender ascriptions in the period and so ultimately moves the debate beyond Wollstonecraft.
Concerns of linguistic, cultural and military incursion from France emerge more frequently in the wake of the Seven Years’ War. In the literary arena, one of the ways in which these concerns are marked is through the highly-contested national stakes of chivalry. This essay argues that these national stakes of chivalry are negotiated in the realm of the Gothic romance in a particularly fluid and dynamic manner. Addressing recent critical assumptions about the conservatism inherent in prose treatments of medieval chivalry, the essay explores the possibility that Gothic romance recuperates a more positive version of chivalry in the wake of the famous Burke/Wollstonecraft revolutionary debate of 1790.
Throughout the long eighteenth century, gambling was hugely popular in Britain, to the growing consternation of critics and lawmakers. This paper explores how Gothic novels portray gambling as not merely an idle pastime, but as an addictive and dangerous behaviour that leads the gambler down the road to villainy. Ann Radcliffe‘s The Mysteries of Udolpho (1794), William Godwin‘s St Leon (1799), Percy Shelley‘s St Irvyne (1811), and John Polidori‘s The Vampyre (1819) all feature villains who gamble. The Gothics portrayal of villainous and pathetic gamblers added to the widespread and growing public concern about gambling in Britain.
particular at Gothic novels that deliberately engage with the moral
questions of that era, I want to show that Watchmen is an
heir to what has been called ‘the philosophical Gothic’
in a strain of British radical fiction. I want to consider it
specifically in relation to WilliamGodwin’s St Leon
and Mary Shelley’s Frankenstein . 2
Avowedly political novels in the Godwinian school
Grievances, if people cannot have their
domestic grievances redressed?”’2
All the same, few of these writers practiced free unions in their own
lives, and most of those who cohabited did so because they had no choice.
For instance, Mary Robinson, a former actress, was a fervent supporter of
Charles James Fox and an early feminist, but her cohabitation with Banastre
Tarleton was unmarried because she was already married to someone else.3
Two writers in this period were exceptions to this rule – WilliamGodwin
and Mary Wollstonecraft. Both stressed the centrality of human
methodology drawn from work in the digital humanities.
D’Holbach also maintained a diverse network of British acquaintances, and discussed his works with the likes of Wilkes, Hume and
Shelburne. This chapter will also consider how this could have
influenced the reactions of British literary circles to the scandalous
reputation of his works, using evidence from the periodical press,
private correspondence and publishers’ catalogues. Rationalist dissenters such as John Jebb, Joseph Priestley and WilliamGodwin
were instrumental in bringing d’Holbach’s ideas to a wider
texts published in the aftermath of the French Revolution. While events across the Channel had resulted in the language
of social reform being treated with increasing mistrust, authors
such as the Edgeworths, Mary Hays and WilliamGodwin strove to
maintain the possibility of raising a generation of rational, ‘enlightened’ citizens.2 While their works foregrounded the role of
education as a generator of social progress, these authors remained
wary of associating themselves with the more radical ideologies –
and the subsequent excesses – of the Revolution. It was a
6.1 WilliamGodwin (1756–1836) on
romance and novel
Godwin was one of the leading
radical intellectuals of the Romantic era. His The Adventures of
Caleb Williams (1794) took the Gothic in a new, philosophical
direction. His next, St Leon (1799), was also a generic
experiment. The present essay, on the relationship between history and
as a parliamentary reporter. 6 That may be the end of the story of Wordsworth and ‘ The Philanthropist ’. There is, however, another intriguing probability. In February 1795 Wordsworth came to London, keen to make his mark and some money in the world of journalism. On 27 February he attended a tea party at William Frend’s lodgings. Six of his Cambridge contemporaries were there together with four others of an older generation: WilliamGodwin, Thomas Holcroft, George Dyer and William Frend. Godwin’s Enquiry Concerning Political Justice had been published two
later, however, the
disclosures of her husband WilliamGodwin’s Memoirs of the Author
of a Vindication of the Rights of Woman (1798) confounded the public
image she had crafted so skilfully. This chapter traces Wollstonecraft’s
reputation in her lifetime, looking at her early reception and her selfconstruction in her Vindications and Letters, before turning to Godwin’s
Memoirs and its aftermath. Critics have often asserted that the scandal
surrounding the Memoirs silenced Wollstonecraft for nearly a century.
However, close attention to a range of little