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Romanticism, Gender and Surveillance, 1780–1836

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Romanticism, Gender and Surveillance, 1780–1836 Romanticism, Gender and Surveillance, 1780–1836 PhD Thesis Thesis submitted in candidature for the degree of Doctor of Philosophy Department of English and Creative Writing Aberystwyth University Lucy Elizabeth Thompson 80,000 words June 2018 Contents List of Illustrations ................................................................................................................... 1 Acknowledgements .................................................................................................................. 4 Abstract ..................................................................................................................................... 5 Introduction .............................................................................................................................. 5 1. The Field of Surveillance ....................................................................................................... 8 2. Flinging Aside the Curtain ................................................................................................... 15 3. Disciplining Women ............................................................................................................ 24 Chapter 1 | The Sexual Body: Slut-Shaming and Surveillance in Sophia Lee’s The Chapter of Accidents ............................................................................................................... 32 1.1. Epistemologies of ‘Slut’: Pushing the Boundaries of Sentimental Comedy .................... 35 1.2. ‘Sure ev’ry body must wish to see and be seen’: Monitoring Women in The Chapter of Accidents .................................................................................................................................. 42 1.3. Punishing Bridget: Regulating Female Agency in The Chapter of Accidents .................. 48 1.4. Slut-Bonnets, Slang and Keyhole Testaments: Georgian Print Culture and Representation of Women in the Press ............................................................................................................. 53 1.5. Resilience: Fabling Women’s Public Image ..................................................................... 62 Chapter 2 | The Medically Surveilled Body: Gendered Experiences of the Paramedical Gaze ......................................................................................................................................... 77 2.1. ‘Figuring it out’: Modern Surveillance Medicine and Hermaphroditism in the Twenty- First Century ............................................................................................................................ 81 2.2. ‘Sweet marble monster’: Shelley, Medicine and the Hermaphrodite ............................... 91 2.3. ‘Semi-glorious human monster[s]’: Byron, Surveillance and Discipline ......................... 99 2.4. ‘Who and what is Geraldine?’: Extending the Disciplinary Gaze .................................. 108 Chapter 3 | Surveillance and the Displaced Body: Charlotte Smith, What Is She?, and the ‘New Public Self’ ............................................................................................................ 117 3.1. Aliens, Paranoid Discourse and Surveillance ................................................................. 124 3.2. Charlotte Smith and the Emigrant Experience................................................................ 136 3.3. Visibility, Social Control & Unmasking in What Is She? .............................................. 143 3.4. Strategies of Resistance and the New Public Self .......................................................... 149 Chapter 4 | The Domiciliary Body: Archio-Surveillance in Joanna Baillie’s The Alienated Manor and Jane Austen’s Mansfield Park ........................................................ 155 4.1. ‘Nothing so delightful as peeping’: Romantic Eavesdropping ....................................... 160 4.2. Inspection Houses: Domiciliary Surveillance and Archio-disciplinary Power .............. 168 4.3. ‘Unusual Noise’: Panopticism and Scripting Spaces in Mansfield Park ........................ 174 4.4. Re-scripting: Resistance in Mansfield Park and The Alienated Manor .......................... 182 Chapter 5 | The Urban Body: Women, Geosurveillance and the City ............................ 190 5.1. Mapping in the Romantic Imagination ........................................................................... 193 5.2. Risky bodies: Covent Garden Ladies and Geosurveillance ............................................ 197 5.3. Geosurveilling Women in Fiction: Egan’s Life in London and De Quincey’s Confessions of an English Opium-Eater .................................................................................................... 205 Conclusion: Geraldine’s Sisters .......................................................................................... 214 Illustrations ........................................................................................................................... 222 Bibliography ......................................................................................................................... 239 1 List of Illustrations Introduction Figure 1. Johannes Vermeer, A Girl Reading a Letter by an Open Window (Brieflezend Meisje bij het Venster), c. 1657–1659, oil on canvas, 83 cm × 64.5 cm, Gemäldegalerie Alte Meister (Old Masters Picture Gallery), Staatliche Kunstsammlungen, Dresden. Figure 2. Gerard Dou, Man Smoking a Pipe (Self Portrait), c. 1650, oil on panel, 48cm × 37cm, Rijksmuseum, Amsterdam. Figure 3. Staatliche Kunstsammlungen Dresden’s (SKD) 1:1 reconstruction of Vermeer’s ‘A Girl Reading a Letter by an Open Window’, produced by the Dresden Academy of Fine Arts for ‘The Young Vermeer’, 2010, in Gemäldegalerie Alte Meister, previously available at: <www.skd.museum/en/special-exhibitions/archive/the-young-vermeer> [accessed 22 October 2015], photo © Thomas Scheufler. Figure 4. Johannes Vermeer, The Little Street (Het Straatje), c. 1657–1661, 53.3 cm × 44 cm, oil on canvas, Rijksmuseum, Amsterdam. Chapter 1 Figure 5. James Gillray, Sir Richard Worse-than-Sly, exposing his wife’s bottom.—O fye!, originally published by William Humphrey, 14 March 1782, hand-coloured etching, 335 mm × 230 mm, © National Portrait Gallery, London. Chapter 2 Figure 6. Sleeping Hermaphroditus, Imperial Age Roman copy of the Hellenistic original, Uffizi Gallery, Florence. Photo © Liêm Phó Nhòm. 2 Chapter 3 Figure 7. James Gillray, Independence, originally published by Hannah Humphrey, 09 June 1799, hand-coloured etching, 349 mm × 249 mm, © National Portrait Gallery, London. Figure 8. Anonymous, ‘No. 4 – Out-door, or Carriage Dress’, 1808, engraving, in La Belle Assemblée (London: J. Bell, 1808), p. 138. Figure 9. ‘Costume Parisienne: Turban à la Gulnaire. Corset et jupon à la Lisbeth’, in Journal des Dames et des Modes, 11 February 1798, engraving, 181 mm × 116 mm (Paris: Pierre de la Mésangère). Chapter 4 Figure 10. Willey Reveley, Plan of Houses of Inspection, c. 1791, pencil, pen and ink and watercolour sketch on paper, inscribed with manuscript notes, 330 mm × 202 mm, Bentham Collection UCL, UC 119, fol. 121, Courtesy UCL Special Collections, image captured by UCL Creative Media Services Figure 11. Designing Safer Places, Planning Policy Approach (Gloucester City Council, 2008), <http://www.gloucester.gov.uk/resident/Documents/Planning%20and%20Building%20Contr ol/DSP%20IA%200808.pdf> [accessed 01 December 2017], p. 9. Chapter 5 Figure 12. Anna Letitia Barbauld and Joseph Ellis, A New Map of the Land of Matrimony drawn from the latest surveys, copperplate engraving, 36 cm × 28.5 cm (London: J. Johnson, 1772). Figure 13. ‘Frontispiece’, in Harris’s List of Covent Garden Ladies, or Man of Pleasure’s Kalender for the Year 1793 (London: H. Ranger, 1793). 3 Figure 14. Lucy E. Thompson, Map of London 1814. Locations plotted onto The Stranger’s Guide Through the Streets of London and Westminster: A New and Correct Plan of London (London: William Darton, 1814). Figure 15. Screenshot of Matthew Sangster’s map, taken from ‘Mapping Harris’s List of Covent-Garden Ladies (1788), in Romantic London, <http://www.romanticlondon.org/harris- list-1788/#14/51.5207/-0.1255> [accessed 16 March 2018]. Figure 16. David Hughson, ‘Walk 12: Covent Garden Theatre’, in Walks Through London (Sherwood, Neely and Jones, 1817). Figure 17. Screenshot of Matthew Sangster’s map, taken from ‘Mapping Pierce Egan’s Life in London, in Romantic London (1821), <http://www.romanticlondon.org/life-in-london- map/#18/51.51253/-0.11731> [accessed 23 March 2018]. Figure 18. Joel E. Salt, Map of London with Annotations from De Quincey’s Confessions of an English Opium-Eater, in ‘Re-Mapping as Remembering: the Digital De Quincey’, <http://drc.usask.ca/projects/eng803/joel/dequincey/dequincey.html> [accessed 14 March 2018]. 4 Acknowledgements First, I would like to thank my supervisors. Richard Marggraf Turley for his guidance and support throughout my PhD, for his meticulous comments on endless drafts and for his encouragement to pursue even the strangest avenues of research. And Beth Rodgers, for her kind advice, her support and for the tea and cake at Victorian Women Wednesdays, which always brightened my week. Their passion for their subject is unbelievable and they have been incredible throughout. I am also particularly lucky to have such a patient family. They may have fallen asleep on occasion while reading drafts of my work but without them I probably wouldn’t
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