Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

2 results

  • Conclusion

  • Hilary Havens, University of Tennessee, Knoxville
  • Book:
    Revising the Eighteenth-Century Novel
    Published online:
    19 August 2019
    Print publication:
    29 August 2019, pp 154-179

  • Summary

    The conclusion moves beyond Richardson, Burney, Austen, and Edgeworth to demonstrate the wide-ranging ramifications of networked authorship for other authors during the period.It was not necessary to be a member of an underprivileged group in order to be situated within an authorship network.Three of their well-educated male contemporaries were influenced by literary networks that inspired significant revisions to their most famous novels: Laurence Sterne’s Tristram Shandy (1759–67), Matthew Lewis’s The Monk (1796), and William Godwin’s Caleb Williams (1794).The case studies of these three novels show that revision was a major tool of eighteenth-century composition practices and was linked to networked authorship, overturning spontaneous, individual conceptions of literary production during the period.The larger consequences of this study are for the categories of novel and author: by concentrating on revision, we can understand the mutability of the novel form and the networked nature of authorship.

  • 19 - Black Socks, Green Threads: On Proust and the Hermeneutics of Inversion

  • from Part IV - Queer Modernisms
  • Edited by E. L. McCallum, Michigan State University, Mikko Tuhkanen, Texas A & M University
  • Book:
    The Cambridge History of Gay and Lesbian Literature
    Published online:
    18 December 2014
    Print publication:
    17 November 2014, pp 344-362

  • Summary

    The Gothic novel, at least prior to the Stonewall Resistance Riot of 1969, is profoundly reticent about the spectacle of direct homophobia, as reticent as it is about the spectacle of homosexuality. To approach the dialogue between the structuring principle of homophobia in the early Gothic novel and the novel's remarkable silence on the topic of male-male sexual relations, one must return to Eve Kosofsky Sedgwick's formative work in Between Men. This chapter describes two Gothic narratives from the long nineteenth-century Anglo-Irish tradition: Lewis's 1796 novel The Monk, and Sheridan Le Fanu's 1872 novella "Carmilla". If The Monk offers its readers a series of anachronistically understood metonyms that can be pressed to cohere in the legible figure of "the homosexual" Le Fanu's "Carmilla" offers a narrative of a young woman named Laura, who lives with her father in a remote castle in the Austrian province of Styria.