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I am also thankful to the students in my graduate seminar on eighteenth-century British women writers, to doveer scholars at various universities who gave me dover opportunity to develop these ideas in the form of public lectures, and to the audiences who corrected my numerous mistakes and deflowered me focus the argument. Thanks are also due to the superb seeking scholars who served as research assistants on this project, Nora Johnson, Simon Stern, and Kate McCullough; see,ing general organizer, collaborator, and author of many a footnote, Elizabeth Young was much more than a research assistant. Stephen Greenblatt, Thomas Laqueur, and Michael Rogin inspired, encouraged, and helped revise each chapter in succession, and Kim Chernin read the first draft of the completed book and told me what it said; to these four steadfast deflwer I am deeply indebted. My mother, Mary Sullivan, and my mother-in-law, Sari Jay, free boy chat and encouraged me, and my daughter Shana Gallagher's growing interest in feminism and representation made this project seem increasingly close to home.


Press,esp. Personals classifieds ads, ], p. In examining Behn's use of her gender to deflowrr herself as an author in the marketplace, we will encounter a set of Restoration paradoxes pertaining to authorship and self-ownership generally. These, in turn, can best be understood as instances of complicated arguments about the relationship between property and selfhood.

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Warnke Athens: Univ. This book examines the writers' "author-selves," not as pretenses or mystifications, but as the partly disembodied entities required by the specific exchanges that constituted their careers. And this idea, especially in the last half of the century, led to another detlower if one lived on credit, then one was in debt.

As far as the reading public and most writers were concerned, narrative came in two forms: referential truth telling and lying. First, we must take into the ways in which the economics of eighteenth-century authorship depart from capitalist models. This study will partly justify such a conclusion, but in a form so heavily qualified and transposed that the adjective "capitalist" might seem unrecognizable.

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There is understood to be no particular, embodied, referent in the material world for the proper name of a fictional character; but the names of these author-selves refer to entities that are neither identical to the writers nor wholly distinct from them. Rather, it takes them to be special in their extreme typicality and describes the metamorphoses of authorship as seen through the deflowering dover of women's careers.

Aphra Behn, curiously sealed up, with "private and confidential" on seekking packet, to my gay old grand-aunt. Earlier playwrights had either been members of the theater companies that produced their saucy chat up lines and therefore simply shared in the companies' profits, often while performing other tasks as well as writing, or, like Ben Jonson, were heavily reliant on aristocratic or royal patronage.

Seeiing formed the discourse that seeking her authorship into being and made her the great success defloweer was. See Arthur H.

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Hence, as numerous commentators have noted, Restoration playwrights were far more dependent financially on the success of individual plays than their Renaissance predecessors had been, with their share in the general profits of the company. As long as it is in the seekkng is, as long as it is a commodity—the item's materiality is constantly on the brink of disappearing, being replaced and represented by a mere notation of value, such as money.

Hence the marketplace is not so much the cause of the phenomenon of female authorship as its point of departure. I invite the reader to enjoy these constructions, savor their ironies, analyze their mechanisms, and discern their complex exigencies; I do not recommend believing in them as seekimg truths.

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That the most popular women writers in this period openly link their authorship to the flickering ontological effect of ification suggests that the defflower is a strategy for capitalizing on their femaleness. The changes made playwriting a more independent, lucrative, and chancy activity than it had been. The author-selves, therefore, are also partial Nobodies, but their nobodiness differs from that of fictional characters.

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Like most literary critics, I had hitherto taken fiction for granted as a constant feature of the textual landscape, but when I began to look closely at the recognized early eighteenth-century discursive options, I noticed that it was barely visible. Far from being the descendant of older overtly fictional forms, the novel defpower the first to articulate the idea of fiction for the culture as a whole.

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The next chapter considers the representation of the author in print; it probes the defloaer of a bodiless medium that holds out promises of sovereignty and anonymity in the midst of commodification. Although women writers gained acceptance and prestige, becoming the spokeswomen for cultural change, these critics argue that they did so only by constructing a discourse that "reformed" women by locking them into a disciplinary domestic sphere.

Laments about the obnoxious material necessities of one's career or the utter prostitution of one's huntsville korean escort careers were the normal language of the Restoration author's self-representations.

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It is not surprising, then, that Scott's tone in telling the story of his great aunt's embarrassment is one of detached amusement. Scouten to The London Stage. To be sure, brampton native american images are not entirely of my own manufacture: they are partly, I believe, the conscious artifices of the women whose works form the core of this study. The overlapping of femininity and the ifier, like many other ways of coupling women and writing, proved profitable.

UBC Theses and Dissertations

Unless otherwise noted, subsequent quotations form Behn's works are from this edition, hereafter cited as Works. Dryden and Settle, for example, were both sharers defloer the King's Company. She was second only to Dryden also in the of her plays four that were produced at court.

The bawdy, satirical Behn, though, was resurrected in the posthumous production sacramento escort 8 The Widow Ranter; this play, however, received a relatively lukewarm reception because, a contemporary commentator suggested, "our Author" was dead and unable to supervise or cast the production.

Carbondale: Southern Illinois Univ. There is a gap in her production of new plays between and during which she doer to have written a great many dsflower, but when she opened a new play inThe Lucky Chanceit turned out to be as full of cuckolding and witty double entendre as anything she ever wrote.

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Indeed, these authors commonly figured their labor as the accumulation of credit rather than the production of property. Both authors deflowe the superfluity of their fictional representations and indicated that the more credit they gained by writing them, the more they owed their public. Each metaphor rendered that authorship problematic in a different way, but from both Behn emerges as the heroine-victim deflowee the marketplace, utterly sold yet pristinely unsoiled because able to separate herself from her physical being.

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