The Seducer S Distracted Confession In A Poetical Rhapsody To A Brother Of The Knife

What is the role of literary writing in democratic society? Building upon his previous work on the emergence of “literature,” Trevor Ross offers a history of how the public function of literature changed as a result of developing press freedoms during the period from 1760 to 1810. Writing in Public examines the laws of copyright, defamation, and seditious libel to show what happened to literary writing once certain forms of discourse came to be perceived as public and entitled to freedom from state or private control. Ross argues that—with liberty of expression becoming entrenched as a national value—the legal constraints on speech had to be reconceived, becoming less a set of prohibitions on its content than an arrangement for managing the public sphere. The public was free to speak on any subject, but its speech, jurists believed, had to follow certain ground rules, as formalized in laws aimed at limiting private ownership of culturally significant works, maintaining civility in public discourse, and safeguarding public deliberation from the coercions of propaganda. For speech to be truly free, however, there had to be an enabling exception to the rules. Since the late eighteenth century, Ross suggests, the role of this exception has been performed by the idea of literature. Literature is valued as the form of expression that, in allowing us to say anything and in any form, attests to our liberty. Yet, paradoxically, it is only by occupying no definable place within the public sphere that literature can remain as indeterminate as the public whose self-reinvention it serves.

Eighteenth-century literature displays a fascination with the seduction of a virtuous young heroine, most famously illustrated by Samuel Richardson's Clarissa and repeated in 1790s radical women's novels, in the many memoirs by fictional or real penitent prostitutes, and in street print. Across fiction, ballads, essays and miscellanies, stories were told of women's mistaken belief in their lovers' vows. In this book Katherine Binhammer surveys seduction narratives from the late eighteenth century within the context of the new ideal of marriage-for-love and shows how these tales tell varying stories of women's emotional and sexual lives. Drawing on new historicism, feminism, and narrative theory, Binhammer argues that the seduction narrative allowed writers to explore different fates for the heroine than the domesticity that became the dominant form in later literature. This study will appeal to scholars of eighteenth-century literature, social and cultural history, and women's and gender studies.

Essays in which happiness becomes a magic carpet, lifting readers above momentary fret and making the ordinary appears wondrous.

"Mrs. Warren's Profession" by George Bernard Shaw is a provocative exploration of morality, class, and the role of women in society. The play revolves around the relationship between Mrs. Kitty Warren, a shrewd and successful madam, and her daughter Vivie, a young woman determined to make her own way in the world. As Vivie uncovers the truth about her mother's profession, she is forced to confront her own values and beliefs, leading to a clash of ideals between mother and daughter. Shaw's incisive wit and social commentary shine through in this thought-provoking drama, challenging audiences to reconsider their preconceptions about morality and the choices individuals make in pursuit of success and independence. "Mrs. Warren's Profession" remains a compelling and relevant work that continues to spark conversation and debate.