Barnett demonstrates that the meaning attached to particular gestures remained consistent throughout the century. Dene Barnett, The Art of Gesture: The Practices and Principles of Eighteenth-Century Acting (Heidelberg: Carl Winter, Universitätsverlag, 1987), and Joseph Donohue, Dramatic Character in the English Romantic Age (Princeton: Princeton University Press, 1970), argue for a more unified view of the period. See Lily Campbell, "The Rise of a Theory of Stage Presentation in England during the Eighteenth Century," PMLA 32 (1917), 163-200 and Alan Downer, "Nature to Advantage Dressed: Eighteenth-Century Acting," PMLA 58 (1943), 1002-37. Historically, scholars have differentiated between acting styles popular during the century. Joseph Donohue, Theatre in the Age of Kean (Oxford: Basil Blackwell, 1975), p. Also see Martin Meisel, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England (Princeton: Princeton University Press, 1983) Janet Todd, Sensibility: An Introduction (London and New York: Methuen, 1986) and Edgar Wind, Hume and the Heroic Portrait: Studies in Eighteenth-Century Imagery (Oxford: Clarendon Press, 1986).ģ. McKenzie, Certain Lively Episodes: The Articulation of Passion in Eighteenth-Century Prose (Athens and London: University of Georgia Press, 1990). Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Berkeley: University of California Press, 1980) Alan T. Important shorter pieces include Gary Kelly's chapter on Inchbald in The English Jacobin Novel: 1780-1820 (Oxford: Clarendon Press, 1976) and Katherine Rogers, "Britain's First Woman Drama Critic: Elizabeth Inchbald," Curtain Calls: British and American Women in the Theatre, 1660-1820 (Athens: Ohio University Press, 1991), pp. Roger Manvell's biography, Elizabeth Inchbald: England's Principal Woman Dramatist and Independent (Lanham, NY, and London: University Presses of America, 1987), focuses on her literary career. For her PhD dissertation, "A Feeling Mind: The Early Career of Elizabeth Inchbald, 1753-1821" (Graduate Center of the City University of New York, 1984), Cecilia Macheski located half a dozen Inchbald pocket memorandum books at the Folger Library. A friend of Inchbald's, Boaden had access to her papers, most of which were later lost or destroyed. Unless otherwise noted, biographical material is based on information contained in Boaden's memoir. Inchbald: Including her Familiar Correspondence with the Most Distinguished Persons of her Time. Other work includes an article on Jane Austen films.ġ. The project explores the influence of the theatre on late eighteenth-century British women novelists. Nora Nachumi is completing her PhD dissertation, "Acting Like a Lady," at the Graduate Center of the City University of New York. It explores ways in which these self-consciously radical novels of the 1790s rewrite that inherited narrative “tradition”, and negotiate its political implications. This article places Wollstonecraft's treatment of Jemima - together with stories of “fallen” women in Mary Hays's The Victim of Prejudice (1799), and Elizabeth Inchbald's Nature and Art (1796) - within the context of eighteenth-century reform literature and the narratives it generated. The argument is found in the work of, among others, Wollstonecraft herself, Mary Hays, Priscilla Wakefield and Hannah More. Writers concerned with women's social and educational status use the numbers of women entering prostitution as an argument for extending employment opportunities. During the 1790s, versions of that sentimental reformist narrative are remobilised as part of a renewed interest in the prostitution issue. In its classic sentimental form, the seduction narrative discovers, and seeks to contain, the prostitute as redeemable victim. From at least the 1720s and Defoe's pamphlet Some Considerations upon Streetwalkers (1726), first-person narratives by prostitutes and/or victims of seduction were a standard topos of sentimental literature. When, in Wollstonecraft's novel Wrongs of Woman (1798), the ex-prostitute and prison warder Jemima is moved to tell her story, she speaks out of a long tradition of similar narratives.
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