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Published online by Cambridge University Press: 04 January 2016
‘A Nun’s dress is a very becoming one’, wrote Cornelius Cayley in 1772. Similarly, Philip Thicknesse, witnessing the clothing ceremony at the English Augustinian convent in Paris, observed that the nun’s dress was ‘quite white, and no ways unbecoming … [it] did not render her in my eyes, a whit less proper for the affections of the world’. This tendency to objectify nuns by focusing on the mysterious and sexualized aspects of conventual life was a key feature of eighteenth-century British culture. Novels, poems and polemic dwelt on the theme of the forced vocation, culminating in the dramatic portrayals of immured nuns in the Gothic novels of the 1790s. The convent was portrayed as inherently despotic, its unnatural hierarchy and silent culture directly opposed to the sociability which, in Enlightenment thought, defined a civilized society. This despotic climate was one aspect of a culture of tyranny and constraint, which rendered nuns either innocent and victimized or complicit and immoral. Historians have noted that these stereotypes were remarkably similar to those applied to the Orient and have thus extended Said’s notion of ‘otherness’ - the self-affirmation of a dominant culture as a norm from which other cultures deviate – to apply not merely to oriental cultures but to those aspects of European culture deemed exotic. In so doing, they have challenged the notion that travel writing was an exact record of social experience and have initiated a more nuanced understanding of textual convention and authorial experience. For historians of eighteenth-century Britain this has led to an examination of the construction of anti-Catholicism within travel literature and its use as an ideology around which the Protestant nation could unite. Thus, Jeremy Black has noted that anti-Catholicism remained the ‘prime ideological stance in Britain’ and has claimed that encounters with Catholicism by British travellers in France ‘excited fear or unease … and, at times, humour or ridicule’. Likewise, Bryan Dolan and Christopher Hibbert have seen encounters with continental convents culminating in negative descriptions of rituals, relics and enclosed space.
I am grateful to the Arts and Humanities Research Council for funding this research and to David Allan and Michael Questier for their comments.
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