Pub Date : 2021-12-01DOI: 10.5038/2157-7129.11.2.1283
Megan Cole
Eliza Haywood is an increasingly popular author to assign in eighteenth-century literature courses. But Haywood is also a prime figure to represent the eighteenth century in courses with a broader scope. This essay proposes teaching The Adventures of Eovaaiin a fantasy-focused, introductory-level survey of British Literature. Identifying Eovaaias part of the fantasy tradition leverages students’ prior knowledge and facilitates teaching this complex novel to first-year students. Eovaaiprovides a wealth of topics for class discussions and activities, including the development of the novel as a genre, identity and othering in fantasy literature, and the use of fantasy conventions like world-building and speculative technology. Moreover, considering Haywood as both representative of the eighteenth century and a pioneer of fantasy literature encourages students to broaden their conceptualizations of the early modern period, women writers, and generic conventions.
{"title":"Visions: Re-historicizing Genre: Teaching Haywood’s The Adventures of Eovaai in a Fantasy-Themed Survey Course","authors":"Megan Cole","doi":"10.5038/2157-7129.11.2.1283","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1283","url":null,"abstract":"Eliza Haywood is an increasingly popular author to assign in eighteenth-century literature courses. But Haywood is also a prime figure to represent the eighteenth century in courses with a broader scope. This essay proposes teaching The Adventures of Eovaaiin a fantasy-focused, introductory-level survey of British Literature. Identifying Eovaaias part of the fantasy tradition leverages students’ prior knowledge and facilitates teaching this complex novel to first-year students. Eovaaiprovides a wealth of topics for class discussions and activities, including the development of the novel as a genre, identity and othering in fantasy literature, and the use of fantasy conventions like world-building and speculative technology. Moreover, considering Haywood as both representative of the eighteenth century and a pioneer of fantasy literature encourages students to broaden their conceptualizations of the early modern period, women writers, and generic conventions.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74775344","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: 10.5038/2157-7129.11.2.1276
Preeshita Biswas
This paper analyzes Bithia Mary Croker’s ghost stories of the British Raj to argue that Croker in her texts reframes the eighteenth-century Orientalist Gothic writing tradition to critique British imperial presence in India. I specifically discuss two of Croker’s short stories, namely “To Let” (1893) and “If You See Her Face” (1893) published in her anthology of Indian ghost fiction To Let(1893) .The paper traces how Croker uses two distinct characteristics of eighteenth-century colonial Indian society–-the tradition of nautch performances and the architectural space of the dak bungalows–-which continued into early-nineteenth century British India under the vigilance of the Empire to simultaneously attack the imperial consciousness and dislocate the imperial heartland from within the colony. In my critique of the two stories, I take a transhistorical approach wherein my analysis starts with and builds upon the eighteenth century and moves into the late nineteenth century. The paper traces how Croker uses two distinct characteristics of eighteenth-century colonial Indian society–-the tradition of nautch performances and the architectural space of the dak bungalows–-which continued into early-nineteenth century India under the vigilance of the British empire to simultaneously attack the imperial consciousness and dislocate the imperial heartland from within the colony. The short stories build upon and expand the eighteenth-century gothic tradition that threads together the internal and the external, in this case the “others” of the British empire. They use Orientalist gothic elements to reflect the growing contentions in the Indian city of Lucknow against British imperial forces that also compromises the apparently safe and secure domestic space of the colonial dak bungalows. In doing so, Croker uses the figures of racial and gendered others to subvert the politico-cultural hierarchies of race, class, and gender.
{"title":"Visions: “If You See Her Face You Die”: Orientalist Gothic and Colonialism in Bithia Croker’s Indian Ghost Stories.","authors":"Preeshita Biswas","doi":"10.5038/2157-7129.11.2.1276","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1276","url":null,"abstract":"This paper analyzes Bithia Mary Croker’s ghost stories of the British Raj to argue that Croker in her texts reframes the eighteenth-century Orientalist Gothic writing tradition to critique British imperial presence in India. I specifically discuss two of Croker’s short stories, namely “To Let” (1893) and “If You See Her Face” (1893) published in her anthology of Indian ghost fiction \u0000 To Let(1893)\u0000 .The paper traces how Croker uses two distinct characteristics of eighteenth-century colonial Indian society–-the tradition of nautch performances and the architectural space of the dak bungalows–-which continued into early-nineteenth century British India under the vigilance of the Empire to simultaneously attack the imperial consciousness and dislocate the imperial heartland from within the colony. In my critique of the two stories, I take a transhistorical approach wherein my analysis starts with and builds upon the eighteenth century and moves into the late nineteenth century. The paper traces how Croker uses two distinct characteristics of eighteenth-century colonial Indian society–-the tradition of nautch performances and the architectural space of the dak bungalows–-which continued into early-nineteenth century India under the vigilance of the British empire to simultaneously attack the imperial consciousness and dislocate the imperial heartland from within the colony. The short stories build upon and expand the eighteenth-century gothic tradition that threads together the internal and the external, in this case the “others” of the British empire. They use Orientalist gothic elements to reflect the growing contentions in the Indian city of Lucknow against British imperial forces that also compromises the apparently safe and secure domestic space of the colonial dak bungalows. In doing so, Croker uses the figures of racial and gendered others to subvert the politico-cultural hierarchies of race, class, and gender.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"364 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73477026","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: 10.5038/2157-7129.11.2.1272
Kathleen Lawton-Trask
This reflection calls attention to the idea that the merging of the domestic and the intellectual, while especially intense during the pandemic year of 2020-21, is a familiar conundrum for women especially. It suggests that creativity can emerge from the intensity of domestic labour, noting the domestic mock-heroic poetry that was written by women in 18 thcentury Britain as a counterpoint to the rise of domesticity, and suggests that (for female academics who are also primary caregivers) scholarly responses and reflections may be easier to bring out of this pandemic moment than scholarly research.
{"title":"WWA Reflection: “So Near Approach / The Sports of Children and The Toils of Men”: Pandemic Labour, Pandemic Imagination","authors":"Kathleen Lawton-Trask","doi":"10.5038/2157-7129.11.2.1272","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1272","url":null,"abstract":"This reflection calls attention to the idea that the merging of the domestic and the intellectual, while especially intense during the pandemic year of 2020-21, is a familiar conundrum for women especially. It suggests that creativity can emerge from the intensity of domestic labour, noting the domestic mock-heroic poetry that was written by women in 18\u0000 thcentury Britain as a counterpoint to the rise of domesticity, and suggests that (for female academics who are also primary caregivers) scholarly responses and reflections may be easier to bring out of this pandemic moment than scholarly research.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"130 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88437281","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: 10.5038/2157-7129.11.2.1275
K. Hansen
Writers of fiction capitalize upon dress’s potential as an agent of deception, using clothing as a means through which characters control their identity to perpetuate lies. Eliza Haywood’s Fantomina; or, Love in a Maze(1725) contains this type of heroine, and the novella shows dress can provide women with power that they can find in few other arenas. This novella constructs lying and dress as potent related tools that allow the protagonist to achieve her desires by creating untruths that pass for realities. In so doing, Fantominacapitalizes upon two related phenomena: the cultural perception of women’s status as innately deceptive and the pervasive accusation that clothing hides the truth. This essay discusses how Fantominacelebrates deception by using clothing as visual rhetoric. To do so, it first sets out the popular association of dress with deception, paying particular attention to the hoop petticoat. A discussion of the ways in which Haywood’s heroine employs dress as visual rhetoric follows, establishing how Fantominacelebrates lying as a useful strategy for women.
{"title":"Dress as Deceptive Visual Rhetoric in Eliza Haywood's Fantomina","authors":"K. Hansen","doi":"10.5038/2157-7129.11.2.1275","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1275","url":null,"abstract":"Writers of fiction capitalize upon dress’s potential as an agent of deception, using clothing as a means through which characters control their identity to perpetuate lies. Eliza Haywood’s \u0000 Fantomina; or, Love in a Maze(1725) contains this type of heroine, and the novella shows dress can provide women with power that they can find in few other arenas. This novella constructs lying and dress as potent related tools that allow the protagonist to achieve her desires by creating untruths that pass for realities. In so doing, \u0000 Fantominacapitalizes upon two related phenomena: the cultural perception of women’s status as innately deceptive and the pervasive accusation that clothing hides the truth. This essay discusses how \u0000 Fantominacelebrates deception by using clothing as visual rhetoric. To do so, it first sets out the popular association of dress with deception, paying particular attention to the hoop petticoat. A discussion of the ways in which Haywood’s heroine employs dress as visual rhetoric follows, establishing how \u0000 Fantominacelebrates lying as a useful strategy for women.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75621954","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: 10.5038/2157-7129.11.1.1274
Kate Ozment
n/a
N/A
{"title":"Pandemic Reflections: Write With Aphra in 2021","authors":"Kate Ozment","doi":"10.5038/2157-7129.11.1.1274","DOIUrl":"https://doi.org/10.5038/2157-7129.11.1.1274","url":null,"abstract":"<jats:p>n/a</jats:p>","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":"88676040","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: 10.5038/2157-7129.11.2.1285
A. Bender, D. Berman, Jenny Factor, Elizabeth Giardina, Catherine Keohane, Bénédicte Miyamoto, Kelly Plante, Elizabeth Porter, Bethany E. Qualls, Susannah Sanford, Karenza Sutton-Bennet
Last summer, a group of participants in ABO’s #WriteWithAphra program joined a co-writing group that continues to meet each weekday. When presented with ABO’s call for reflections in early 2020, we wanted to reflect as we have worked this past year: together. We share here our conversation from June 4, 2021 (edited for clarity) that addresses why we joined the writing group, as well as what we have gained, the challenges we have encountered, and why we are still here. We frame the conversation with a brief introduction that explores the feminist nature of co-writing.
{"title":"WWA Reflection: Continuing to #WriteWithAphra: A Year of Collegiality and Compassion","authors":"A. Bender, D. Berman, Jenny Factor, Elizabeth Giardina, Catherine Keohane, Bénédicte Miyamoto, Kelly Plante, Elizabeth Porter, Bethany E. Qualls, Susannah Sanford, Karenza Sutton-Bennet","doi":"10.5038/2157-7129.11.2.1285","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1285","url":null,"abstract":"Last summer, a group of participants in \u0000 ABO’s #WriteWithAphra program joined a co-writing group that continues to meet each weekday. When presented with \u0000 ABO’s call for reflections in early 2020, we wanted to reflect as we have worked this past year: together. We share here our conversation from June 4, 2021 (edited for clarity) that addresses why we joined the writing group, as well as what we have gained, the challenges we have encountered, and why we are still here. We frame the conversation with a brief introduction that explores the feminist nature of co-writing.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90790952","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: 10.5038/2157-7129.11.2.1290
Amanda-Rae Prescott
Sanditonfans have used social media more than many other past Jane Austen adaptations to discuss the series and to share news developments about the series. This was partially due to the COVID-19 pandemic preventing in-person marketing and fandom gatherings, but also due to some traditional Austen discussion platforms ignoring or banning pro-Sanditon discussions. White women from the UK and Europe dominated these online communities and set the tone for discussions of the plot as well as news about the series. BIPOC fans repeatedly clashed with white fans because the promises of an “inclusive” community were frequently dashed as soon as they disagreed with the predominant views of white fans. ITV’s decision to reverse the cancelation of the series did not diminish these clashes, in fact, they have continued to increase. The second season is expected to premiere in 2022 in a different media climate than the first season. Not only has the long delay in production for the second season resulted in recasting several roles, but Bridgerton has also far eclipsed Sanditon in international popularity. Bridgertonhas not only embraced contrasting and even anti-Austen aesthetics, but has also cast Black lead actors in their first season and South Asian lead actors in the upcoming Season 2. In light of these developments, BIPOC fans have pushed for Sanditonto expand Crystal Clarke’s role as Georgiana and diversify the cast and crew. The white fans who are interested in maintaining Sanditon as the anti-Bridgerton are pushing back in more subtle but still racist ways. Jane Austen scholars, academics, and professionals are facing a four-fold danger: the undermining of existing DEIA efforts within traditional Austen spaces by white fans with no interest in doing this work; the risk of alienating the next generation of Austen professionals by ignoring social media as a platform for Austen and Austen-adjacent discussions; the exclusion of BIPOC Austen fans from online and traditional spaces; and the inability to influence or participate in discussions of pop culture adaptations of Austen works.
{"title":"Race and Racism in Austen Spaces: Notes On A Scandal: Sanditon Fandom’s Ongoing Racism And The Danger Of Ignoring Austen Discourse On Social Media","authors":"Amanda-Rae Prescott","doi":"10.5038/2157-7129.11.2.1290","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1290","url":null,"abstract":"\u0000 Sanditonfans have used social media more than many other past Jane Austen adaptations to discuss the series and to share news developments about the series. This was partially due to the COVID-19 pandemic preventing in-person marketing and fandom gatherings, but also due to some traditional Austen discussion platforms ignoring or banning pro-Sanditon discussions. White women from the UK and Europe dominated these online communities and set the tone for discussions of the plot as well as news about the series. BIPOC fans repeatedly clashed with white fans because the promises of an “inclusive” community were frequently dashed as soon as they disagreed with the predominant views of white fans.\u0000 ITV’s decision to reverse the cancelation of the series did not diminish these clashes, in fact, they have continued to increase. The second season is expected to premiere in 2022 in a different media climate than the first season. Not only has the long delay in production for the second season resulted in recasting several roles, but Bridgerton has also far eclipsed Sanditon in international popularity.\u0000 Bridgertonhas not only embraced contrasting and even anti-Austen aesthetics, but has also cast Black lead actors in their first season and South Asian lead actors in the upcoming Season 2. In light of these developments, BIPOC fans have pushed for \u0000 Sanditonto expand Crystal Clarke’s role as Georgiana and diversify the cast and crew. The white fans who are interested in maintaining Sanditon as the anti-Bridgerton are pushing back in more subtle but still racist ways.\u0000 Jane Austen scholars, academics, and professionals are facing a four-fold danger: the undermining of existing DEIA efforts within traditional Austen spaces by white fans with no interest in doing this work; the risk of alienating the next generation of Austen professionals by ignoring social media as a platform for Austen and Austen-adjacent discussions; the exclusion of BIPOC Austen fans from online and traditional spaces; and the inability to influence or participate in discussions of pop culture adaptations of Austen works.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77854196","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: 10.5038/2157-7129.11.2.1297
M. Narain
{"title":"Editors' Thanks to Dr. Linda Troost, Editor of ECW","authors":"M. Narain","doi":"10.5038/2157-7129.11.2.1297","DOIUrl":"https://doi.org/10.5038/2157-7129.11.2.1297","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88478923","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 : 2021-05-01DOI: 10.5038/2157-7129.11.1.1258
J. Munns
{"title":"Covid Diary: Scholarship and Gardening","authors":"J. Munns","doi":"10.5038/2157-7129.11.1.1258","DOIUrl":"https://doi.org/10.5038/2157-7129.11.1.1258","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79722923","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 : 2021-05-01DOI: 10.5038/2157-7129.11.1.1254
Rebecca Nesvet
{"title":"Review of Eighteenth-Century Women’s Writing and the Methodist Media Revolution, by Andrew O. Winckles","authors":"Rebecca Nesvet","doi":"10.5038/2157-7129.11.1.1254","DOIUrl":"https://doi.org/10.5038/2157-7129.11.1.1254","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"153 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79580852","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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