Pub Date : 2022-05-01DOI: 10.5038/2157-7129.12.1.1273
Jeremy Chow
This essay argues that the Gothic succubus pioneers new frameworks for examining female sexuality, sexual violation, and consent in the eighteenth century. M. G. Lewiss The Monk (1796) reveals the Bleeding Nun as a demonic female ghost that is both sadistic and hypersexualized, especially in her tryst with Don Raymond. The spectrality of the succubus reimagines the displacement of the female body as something both material and ethereal, and in so doing, renders consequent displacements of consent, agency, and sexuality, which may characterize queer Gothic tropes. I interweave discussions of consent alongside representations and theories of ghosts throughout the eighteenth century to evaluate how the succubus muddies conceptions of sexual violation and gender. To see or narrate the succubus is to grapple with maligned forms of female empowerment and eroticism, which this essay seeks to recuperate.
{"title":"Succubus Matters","authors":"Jeremy Chow","doi":"10.5038/2157-7129.12.1.1273","DOIUrl":"https://doi.org/10.5038/2157-7129.12.1.1273","url":null,"abstract":"This essay argues that the Gothic succubus pioneers new frameworks for examining female sexuality, sexual violation, and consent in the eighteenth century. M. G. Lewiss The Monk (1796) reveals the Bleeding Nun as a demonic female ghost that is both sadistic and hypersexualized, especially in her tryst with Don Raymond. The spectrality of the succubus reimagines the displacement of the female body as something both material and ethereal, and in so doing, renders consequent displacements of consent, agency, and sexuality, which may characterize queer Gothic tropes. I interweave discussions of consent alongside representations and theories of ghosts throughout the eighteenth century to evaluate how the succubus muddies conceptions of sexual violation and gender. To see or narrate the succubus is to grapple with maligned forms of female empowerment and eroticism, which this essay seeks to recuperate.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86034594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1270
B. Robertson-Kirkland
This reflection, which considers the positive impact of attending online conferences on building writing momentum is in response to the ABO Call for Short Reflections (500-750 words) on Writing and Research during the Pandemic.
{"title":"WWA Reflection: Building Writing Momentum: A Year of Digital Conferences","authors":"B. Robertson-Kirkland","doi":"10.5038/2157-7129.11.2.1270","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1270","url":null,"abstract":"This reflection, which considers the positive impact of attending online conferences on building writing momentum is in response to the ABO Call for Short Reflections (500-750 words) on Writing and Research during the Pandemic.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"521 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72423410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1294
Kerry. Sinanan
{"title":"Race and Racism in Austen Spaces: Eroticizing Men of Empire in Austen","authors":"Kerry. Sinanan","doi":"10.5038/2157-7129.11.2.1294","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1294","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90492881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1282.
M. Olivieri
Despite the rigorous study of Anne Lister’s personal and public identities, scholars have only minimally acknowledged the ways in which Lister appropriated the ideas and practices of others to construct the image of herself they themselves are so fascinated by. From her teenage years onward, Lister collected ideas, images, and published works that broke with the traditional, conservative ideals on which she was raised and adapted them for her own use in expanding her queer identity. Of the scholars who do investigate Lister’s use of the publicly queer, even fewer have thoroughly examined Lister’s method of adaptation as a distinctly queer process of recognition and replication within the community—a process that, to some extent, still exists today. This paper aims to bridge a portion of this gap by examining Lister’s use of Lord Byron and argues that in her reflecting the easily visible traits of other, more public figures like Byron, Anne Lister exemplifies a tradition of queer survival methods that have created a community built on recognition and visibility within while maintaining the ability to hide in plain sight without, existing in the space between seen and unseen.
{"title":"Visions: \"Which made it look like a gentleman’s”: Anne Lister’s Use of Lord Byron in Her Construction of a Gentlemanly Image","authors":"M. Olivieri","doi":"10.5038/2157-7129.11.2.1282.","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1282.","url":null,"abstract":"Despite the rigorous study of Anne Lister’s personal and public identities, scholars have only minimally acknowledged the ways in which Lister appropriated the ideas and practices of others to construct the image of herself they themselves are so fascinated by. From her teenage years onward, Lister collected ideas, images, and published works that broke with the traditional, conservative ideals on which she was raised and adapted them for her own use in expanding her queer identity. Of the scholars who do investigate Lister’s use of the publicly queer, even fewer have thoroughly examined Lister’s method of adaptation as a distinctly queer process of recognition and replication within the community—a process that, to some extent, still exists today. This paper aims to bridge a portion of this gap by examining Lister’s use of Lord Byron and argues that in her reflecting the easily visible traits of other, more public figures like Byron, Anne Lister exemplifies a tradition of queer survival methods that have created a community built on recognition and visibility within while maintaining the ability to hide in plain sight without, existing in the space between seen and unseen.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82816153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1284
Carrie D. Shanafelt
A review of Downward Mobility: The Form of Capital and the Sentimental Novelby Katherine Binhammer, by Carrie D. Shanafelt
《向下流动:资本的形式与感伤小说》，凯瑟琳·宾哈默著，嘉莉·d·沙纳菲尔特著
{"title":"Review of Downward Mobility: The Form of Capital and the Sentimental Novel, by Katherine Binhammer","authors":"Carrie D. Shanafelt","doi":"10.5038/2157-7129.11.2.1284","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1284","url":null,"abstract":"A review of \u0000 Downward Mobility: The Form of Capital and the Sentimental Novelby Katherine Binhammer, by Carrie D. Shanafelt","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"84 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86950492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1292
Tré Ventour-Griffiths
{"title":"Race and Racism in Austen Spaces: National Trust in Jane Austen’s Empires of Sugar","authors":"Tré Ventour-Griffiths","doi":"10.5038/2157-7129.11.2.1292","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1292","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82596224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1261
Heidi Laudien
Laudien argues in “Grasses, Groves and Gardens: Aphra Behn Goes Green” that Behn moves beyond the stylized and artificial backdrops of most pastoral to explore the unique ways the landscape can be manipulated to investigate gender difference and the dynamics of desire and representation. Laudien suggests that in prioritizing the pastoral as political allegory in Behn, we overlook the descriptions of nature and the importance she places on the natural environments she creates. Through close readings of several of her pastoral poems, Laudien reveals that Behn’s landscapes destabilize existing notions of the pastoral space as an idealized and organized place and disorient the reader’s conventional expectations of pastoral nature.
{"title":"Grasses, Groves, and Gardens: Aphra Behn Goes Green","authors":"Heidi Laudien","doi":"10.5038/2157-7129.11.2.1261","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1261","url":null,"abstract":"Laudien argues in “Grasses, Groves and Gardens: Aphra Behn Goes Green” that Behn moves beyond the stylized and artificial backdrops of most pastoral to explore the unique ways the landscape can be manipulated to investigate gender difference and the dynamics of desire and representation. Laudien suggests that in prioritizing the pastoral as political allegory in Behn, we overlook the descriptions of nature and the importance she places on the natural environments she creates. Through close readings of several of her pastoral poems, Laudien reveals that Behn’s landscapes destabilize existing notions of the pastoral space as an idealized and organized place and disorient the reader’s conventional expectations of pastoral nature.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75270897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1291
Bianca Hernandez-Knight
Jane Austen is a master of genre, and her allusions and direct references in her Juvenilia and Northanger Abbey show that she is not just a satirist, she clearly understood and even appreciated the works she was often making fun of. So why then are people so reluctant to discuss Austen and Regency Romance, a genre directly tied to Austen’s works? Deeper still, why is there avoidance to critically read Georgette Heyer’s work? The evolution of Regency-centered fiction cannot be discussed without looking at Heyer, an antisemitic and racist author whose abridged works have worked to overhaul her problematic writing, and someone who has been a gateway into the Regency fiction world for many. When talking about modern Regency-set romances, readers cannot ignore the influence of Austen or Heyer, and doing so would be akin to reading Northanger Abbey without looking up any information on the horrid novels. Certainly readers can enjoy the discussion, but they are missing the scaffolding of the work. Tracing the beginnings of Regency romance as a genre, and plotting it through to today in the Bridgerton novels and the Netflix show, it becomes clear that understanding this modern genre and its history is as important to talking about Austen in pop culture as it would be to research the “horrid novels” in order to more deeply understand Northanger Abbey. Along with that context, we must also look at the gatekeeping in discussions around romance and Austen in online spaces. Why are discussions so divided and who gets to dictate who we are allowed to talk about in conjunction to Austen? Why is there reluctance to critically read about the issues of the Regency era, but also the ones laid out in the fantasy world Heyer created?
{"title":"Race and Racism in Austen Spaces: Jane Austen and Regency Romance's Racist Legacy","authors":"Bianca Hernandez-Knight","doi":"10.5038/2157-7129.11.2.1291","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1291","url":null,"abstract":"Jane Austen is a master of genre, and her allusions and direct references in her Juvenilia and Northanger Abbey show that she is not just a satirist, she clearly understood and even appreciated the works she was often making fun of. So why then are people so reluctant to discuss Austen and Regency Romance, a genre directly tied to Austen’s works? Deeper still, why is there avoidance to critically read Georgette Heyer’s work?\u0000 The evolution of Regency-centered fiction cannot be discussed without looking at Heyer, an antisemitic and racist author whose abridged works have worked to overhaul her problematic writing, and someone who has been a gateway into the Regency fiction world for many. When talking about modern Regency-set romances, readers cannot ignore the influence of Austen or Heyer, and doing so would be akin to reading Northanger Abbey without looking up any information on the horrid novels. Certainly readers can enjoy the discussion, but they are missing the scaffolding of the work.\u0000 Tracing the beginnings of Regency romance as a genre, and plotting it through to today in the Bridgerton novels and the Netflix show, it becomes clear that understanding this modern genre and its history is as important to talking about Austen in pop culture as it would be to research the “horrid novels” in order to more deeply understand Northanger Abbey.\u0000 Along with that context, we must also look at the gatekeeping in discussions around romance and Austen in online spaces. Why are discussions so divided and who gets to dictate who we are allowed to talk about in conjunction to Austen? Why is there reluctance to critically read about the issues of the Regency era, but also the ones laid out in the fantasy world Heyer created?","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78210427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1271
Sabrina Durso
{"title":"WWA Reflection: Losing Sight, Making Scholarship","authors":"Sabrina Durso","doi":"10.5038/2157-7129.11.2.1271","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1271","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"7 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72474568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1289
Susannah Sanford, Sofia Prado Huggins
The editors introduce this special issue of ABO, highlighting the work of the authors included in the issue. The introduction draws on recent scholarship re-visioning the work of the long, “undisciplined” eighteenth century, arguing for an eighteenth-century studies that embodies our intersectional identities and honors the experiences of bodyminds surrounding texts and authors, as well as the bodyminds that interact with those texts in the present. Throughout the years, scholars have demonstrated that there is no single vision of what eighteenth-century scholarship is or should be, but rather multiple visions. This introduction urges scholars to consider how an eighteenth-century studies that focuses on embodied experience can and should respond to present-day issues of racial inequity, sexism, ableism, heteronormativity, and other forms of systemic oppression which remain deeply rooted in the structures of power of the long eighteenth century. Revising our ideas of what is possible, what is visible, what is required of us as teacher-scholars remains our foremost task.
{"title":"Visions: The Dance Most of All: Envisioning an Embodied Eighteenth-Century Studies","authors":"Susannah Sanford, Sofia Prado Huggins","doi":"10.5038/2157-7129.11.2.1289","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1289","url":null,"abstract":"The editors introduce this special issue of ABO, highlighting the work of the authors included in the issue. The introduction draws on recent scholarship re-visioning the work of the long, “undisciplined” eighteenth century, arguing for an eighteenth-century studies that embodies our intersectional identities and honors the experiences of bodyminds surrounding texts and authors, as well as the bodyminds that interact with those texts in the present. Throughout the years, scholars have demonstrated that there is no single vision of what eighteenth-century scholarship is or should be, but rather multiple visions. This introduction urges scholars to consider how an eighteenth-century studies that focuses on embodied experience can and should respond to present-day issues of racial inequity, sexism, ableism, heteronormativity, and other forms of systemic oppression which remain deeply rooted in the structures of power of the long eighteenth century. Revising our ideas of what is possible, what is visible, what is required of us as teacher-scholars remains our foremost task.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74394349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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