DOCSLIB.ORG

University of California

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of California UNIVERSITY OF CALIFORNIA Los Angeles Literary Gestations: Giving Birth to Writing, 1722-1831 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Elizabeth Ruth Raisanen 2013 © Copyright by Elizabeth Ruth Raisanen 2013 ABSTRACT OF THE DISSERTATION Literary Gestations: Giving Birth to Writing, 1722-1831 by Elizabeth Ruth Raisanen Doctor of Philosophy in English University of California, Los Angeles, 2013 Professor Anne K. Mellor, Chair This study employs a feminist theoretical lens in order to correct the commonplace critical notion that male Romantic poets embraced the metaphors of gestation and birth for their literary productions. By tracing the development of obstetric medicine and copyright law in eighteenth-century England, I demonstrate the ways in which eighteenth-century and Romantic male authors (including Samuel Richardson, Tobias Smollett, Laurence Sterne, William Blake, William Wordsworth, Samuel Taylor Coleridge, and Percy Shelley) denied autonomy and speech to their pregnant characters and rejected maternal metaphors for writing because they wished to posit a transcendent male mind that was fundamentally different from—and superior to—women’s gross embodiment. I also examine Eliza Haywood, an eighteenth-century novelist who wrote extensively about pregnancy but who nevertheless resisted a maternal authorial ii identity. By contrast, the female Romantic authors I examine in this study—most notably Charlotte Smith, Mary Wollstonecraft, Eliza Fenwick, Amelia Opie, Anna Letitia Barbauld, Isabella Kelly, Jane Cave, and Mary Shelley—celebrated both maternity and maternal metaphors for authorship because motherhood and authorship, embodiment and intellect, were not mutually exclusive for them. In short, mothering and writing were congruent activities for female, but not for male, Romantic writers. iii The dissertation of Elizabeth Ruth Raisanen is approved. Helen Deutsch Mary Terrall Anne K. Mellor, Committee Chair University of California, Los Angeles 2013 iv For my mother, Christine (Ahlskog) Raisanen, whose hard work, sharp intellect, and unfailing kindness I have always endeavored to emulate v TABLE OF CONTENTS List of Illustrations vii Acknowledgments ix Vita xi INTRODUCTION Cultural Constructions of the Pregnant Body in Eighteenth-Century England 1 CHAPTER 1 “Two babes of love close clinging to her waste”: The Perils of Pregnancy and Maternal Authorship in Eliza Haywood’s Fiction 37 CHAPTER 2 “[T]he man-midwife by all means”: Reproductive Authority and Authorship in the Novels of Samuel Richardson, Tobias Smollett, and Laurence Sterne 73 CHAPTER 3 “The imagination bodies forth its conceptions”: Motherhood, Authorship, and Female Romantic Novelists 116 CHAPTER 4 “Say I liv’d to give thee being”: Re-writing the Mother’s Legacy in the Pregnancy Poetry of Jane Cave, Isabella Kelly, and Anna Letitia Barbauld 167 CHAPTER 5 “In my Brain are studies & Chambers”: The Mental Gestations of William Blake, William Wordsworth, and Samuel Taylor Coleridge 219 CHAPTER 6 Hideous Progenies: The Literary Gestations of Percy Shelley and Mary Shelley 288 EPILOGUE 325 APPENDIX 330 BIBLIOGRAPHY 347 vi LIST OF ILLUSTRATIONS FIGURE 1 Presentation of Sadler’s Private Looking-Glasse to a pregnant woman 330 FIGURE 2 Fetal positions 331 FIGURE 3 Presentation of Rösslin’s Der Rosengarten to a pregnant woman 332 FIGURE 4 Midwives assisting at a birth 333 FIGURE 5 Mother and fetus 334 FIGURE 6 Placement of fetus in the womb 335 FIGURE 7 Placement of fetus in dissected cadaver 336 FIGURE 8 Forceps delivery 337 FIGURE 9 Delivery of fetal head with a crochet 338 FIGURE 10 Catheter separating the peritoneum from the uterus 339 FIGURE 11 Obstetrical teaching manikin from early nineteenth century 340 FIGURE 12 An exuberant baby extends its arms outward as it is born 341 FIGURE 13 “What is Man!” 342 FIGURE 14 A woman plucks a mandrake-child from beneath a tree 343 vii FIGURE 15 Los gives birth to “the globe of life” 344 FIGURE 16 Mary Shelley’s handwritten emendation of a passage in Frankenstein 345 FIGURE 17 Victor Frankenstein abandons his creature 346 viii ACKNOWLEDGMENTS I must begin by offering my heartfelt thanks to the most supportive dissertation committee that a Ph.D. Candidate could desire. I am forever indebted to Anne Mellor for the wisdom, sage advice, and good cheer that have inspired and sustained me throughout the dissertation-writing process. I also had the good fortune to work with Helen Deutsch, who was always ready to offer constructive, insightful feedback to me when I needed it the most. I deeply appreciate the detailed comments I received from Mary Terrall, who generously shared her extensive knowledge of the history of obstetric medicine with me, and from Felicity Nussbaum, whose incisive critiques helped me to shape my project in significant ways. I am also grateful to those teachers whose expertise and enthusiasm guided me on the path to graduate school. I wish to thank Dana Brookins, whose literature classes inspired me to major in English, as well as Ray Ventre and the faculty of the English Department at Northern Michigan University, who made me realize that I wanted to enter their profession. I am particularly grateful to Alex Dick for his invaluable mentorship and for the undergraduate Romantics class that captured my imagination. I would also like to thank Jeff Cox, who taught the graduate seminar in which the contours of my dissertation project first began to take shape. For permission to reprint illustrative material, I thank the Library Special Collections at UCLA, the Pierpont Morgan Library, the William Blake Archive, and the Library of Congress. I would also like to acknowledge the Chawton House Library, the UCLA Center for the Study of Women, the UCLA Center for European and Eurasian Studies, the UCLA Center for Seventeenth- and Eighteenth-Century Studies, the UCLA Department of English, and UCLA’s Graduate Division for generous research and conference travel grants that have helped to foster my dissertation work and professional development. Mike Lambert, Jeanette Gilkison, Rick ix Fagin, Janel Munguia, and Nora Elias deserve special thanks for their unfailing professionalism, patience, and expert assistance in all administrative matters relating to the UCLA Department of English. My years in graduate school have given me the gift of numerous colleagues and friends who have supported and encouraged me with their humor and insight. Noah Comet, Noelle Chao, Beth Goodhue, Vivian Davis, Val Shepard, and Fred Burwick were generous and knowledgeable mentors to me during my time at UCLA. Enit Steiner graciously helped me to hone my German language skills and was always willing to lend a listening ear. Kristin Yarris has been a valuable long-distance writing partner and font of professional wisdom. Words cannot express my gratitude to Chris Mott for mentoring me in the craft of teaching. I wish to extend special thanks to another amazing and compassionate mentor, Angela Deaver Campbell, as well as to my colleagues (and dear friends) at the UCLA Scholarship Resource Center—Hannah Lee, Kat Webster, Hannah Nahm, Francesca Marx, Mac Harris, and Elena Shih—for the good company and conversation that have kept my spirits up during the final stretch of dissertation writing. I am also grateful to Sara Torres, Emily Runde, Whitney Arnold, Cait Rohn, Vicki Joule, Michelle Bradley, Jackie Ellisor, and Cecilia Pang, who have offered me their friendship and support during both joyful and difficult times. On a personal note, I would like to thank my parents, Ken and Christine Raisanen, my brother Daniel Raisanen, my grandparents Ruth Ahlskog and Eddie and Irene Raisanen, my honorary grandmother Helen Toivonen, and my second family—Tom, Sandi, and Brian Gauthier—for their many years of generous assistance and loving encouragement. Finally, I owe a deep debt of gratitude to my husband, Todd Gauthier, for the immeasurable love, wisdom, patience, and generosity that have never failed to sustain me. x VITA 2003 B.A., English Summa cum laude Northern Michigan University 2004 Graduate Part-Time Instructor Department of English University of Colorado at Boulder 2005 M.A., English University of Colorado at Boulder 2006-2007 Teaching Assistant Department of English University of California, Los Angeles 2007-2008 Graduate Research Mentorship Fellowship Graduate Division University of California, Los Angeles 2008-2010 Teaching Assistant Department of English University of California, Los Angeles 2009 Thayer Short-Term Research Fellowship Library Special Collections University of California, Los Angeles 2010 Jean Stone Dissertation Research Fellowship Center for the Study of Women University of California, Los Angeles 2010-2011 Dissertation Research Fellowship Department of English University of California, Los Angeles 2011-2012 Dissertation Fellowship Graduate Division University of California, Los Angeles 2011-2013 Student Affairs Advisor Scholarship Resource Center University of California, Los Angeles xi PUBLICATIONS AND PRESENTATIONS Elizabeth Ruth Raisanen. “‘A Play without Love’?: Ann Yearsley’s Earl Goodwin.” Paper presented at the Comparative Literature Conference, California State University, Long Beach, March 2006. ---. “Post-Napoleonic Liberal Discourse in Mary Mitford’s Rienzi.” Paper presented at the North American Society for the Study of Romanticism Conference, Bristol, UK, July 2007. ---. “Mary Russell Mitford’s Julian.” Paper presented at the Wordsworth Summer
Load more

Recommended publications
  • The Project Gutenberg Ebook of the Moghul, by Thomas Hoover This
    The Project Gutenberg EBook of The Moghul, by Thomas Hoover This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org ** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ** ** Please follow the copyright guidelines in this file. ** Title: The Moghul Author: Thomas Hoover Release Date: November 14, 2010 [EBook #34322] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE MOGHUL *** Produced by Al Haines ============================================================== This work is licensed under a Creative Commons Attribution 3.0 Unported License, http://creativecommons.org/ ============================================================== THE MOGHUL Based on real people (ca. 1620) – THE MOGHUL begins in a rip-roaring sea battle north of Bombay in which the vastly out- gunned adventurer, Brian Hawksworth, ship's captain and emissary of King James, blows away a flotilla of Portuguese galleons to gain access to an Indian port. He's come to open trade for “barbaric” England and squeeze out the Portuguese, who try to kill him at every turn. But once on land, he’s captive: the beauty and romance of the exquisite Moghul Empire seduce him from his material goals to a new quest – of supreme sensuality in music, visions, and sacred lovemaking. India, ruled by the son of great Akbar, is about to pass to one of his sons. Hawksworth must choose sides, but will he choose right? The future of England, and of India, depend on it.
    [Show full text]
  • 'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world.
    [Show full text]
  • A Case for Hard-Heartedness: Clarissa, Indifferency, Impersonality
    A Case for Hard-heartedness: Clarissa, Indifferency, Impersonality Wendy Anne Lee !"#$%!&$ Reading Clarissa’s hard-heartedness through the lens of indif- fer ency clari!es what is at stake in her still-puzzling and multi- layered defection. "e phenomenon of hard-heartedness in Samuel Richardson’s Clarissa is here re-evaluated through John Locke’s concept of “indi#er ency” and through contemporary theories of impersonality. Beginning with an account of the novel’s reception in which readers were unnerved by Clarissa’s refusal to marry her rapist, I locate an important counter-response in Anna Laetitia Barbauld, who valued precisely the quality of impassivity in Richardson’s heroine. In eighteenth-century thought, a similar form of disen gagement is articulated by Locke’s notion of indi#erency, an impartiality that risks alienation for the sake of understanding and autonomy. By featuring an im personal Clarissa, I show how the novel’s theory of character, in which a hidden interiority under writes personhood, contains its own critique of a depth- model of psychology. I conclude by examin ing a phase of Clarissa’s narrative not o$en discussed: her life as an urban rape sur vivor, an incarnation that o#ers the most chal leng ing as well as the most promising possibilities for the impersonal person in the novel. !'$()% Wendy Anne Lee is an assistant professor in the English Depart- ment at Yale University. Her book in progress is called “Failures of Feeling: Insensibility and the Novel.” Eighteenth-Century Fiction 26, no. 1 (Fall 2013) ECF
    [Show full text]
  • Defective Accommodation. a Touch of Natube
    rooms in which they assemble, and to instruct their sub- DEFECTIVE ACCOMMODATION. ordinates to be continually on the alert while in the ONE of the first lessons taught to every aspirant for discharge of their duties as to the security of the apart- the benefits of Freemasonry, is that which enjoins ments used for Masonic purposes. on him the necessity for care in all his Masonic doings, These resolutions, ancl the thoughts they occasion , lest any of the secrets or mysteries of the Order improperly impress us with the advantages enjoyed by those Lodges become known. This cantion is repeated more than once which own a Hall of their own, or which meet in a building ere an initiate is entitled to take his place as a Master entirely devoted to the purposes of Freemasonry, but the Mason. The injunctions on this point may be said to be cost of such privacy precludes the possibility of its ever regarded to almost the fullest extent so far as individual becoming really popular. It therefore behoves us to make brethren are concerned, but not always so thoroughly when the best use of the materials we have at hand. No doubt regular Lodge meetings are being held. It is sometimes many suggestions might be made by a Board of Examiners, astonishing to notice the carelessness of brethren on such either in this country or in America, which would prove occasions, although we should perhaps be more correct beneficial to Freemasonry, and among the points to which were we to attach the blame to those whose duty it is to such a Board might profitably devote attention is that of see that the apartments set aside for the meetings are so rendering Masonic gatherings more dignified.
    [Show full text]
  • Popular Fiction 1814-1939: Selections from the Anthony Tino Collection
    POPULAR FICTION, 1814-1939 SELECTIONS FROM THE ANTHONY TINO COLLECTION L.W. Currey, Inc. John W. Knott, Jr., Bookseller POPULAR FICTION, 1814-1939 SELECTIONS FROM THE THE ANTHONY TINO COLLECTION WINTER - SPRING 2017 TERMS OF SALE & PAYMENT: ALL ITEMS subject to prior sale, reservations accepted, items held seven days pending payment or credit card details. Prices are net to all with the exception of booksellers with have previous reciprocal arrangements or are members of the ABAA/ILAB. (1). Checks and money orders drawn on U.S. banks in U.S. dollars. (2). Paypal (3). Credit Card: Mastercard, VISA and American Express. For credit cards please provide: (1) the name of the cardholder exactly as it appears on your card, (2) the billing address of your card, (3) your card number, (4) the expiration date of your card and (5) for MC and Visa the three digit code on the rear, for Amex the for digit code on the front. SALES TAX: Appropriate sales tax for NY and MD added. SHIPPING: Shipment cost additional on all orders. All shipments via U.S. Postal service. UNITED STATES: Priority mail, $12.00 first item, $8.00 each additional or Media mail (book rate) at $4.00 for the first item, $2.00 each additional. (Heavy or oversized books may incur additional charges). CANADA: (1) Priority Mail International (boxed) $36.00, each additional item $8.00 (Rates based on a books approximately 2 lb., heavier books will be price adjusted) or (2) First Class International $16.00, each additional item $10.00. (This rate is good up to 4 lb., over that amount must be shipped Priority Mail International).
    [Show full text]
  • ABC KIDS/COMEDY Program Guide: Week 23 Index 1 | Page
    ABC KIDS/COMEDY Program Guide: Week 23 Index 1 | P a g e ABC KIDS/COMEDY Program Guide: Week 23 Index Index Program Guide .............................................................................................................................................................. 3 Sunday, 31 May 2020 ............................................................................................................................................ 3 Monday, 1 June 2020 ............................................................................................................................................ 9 Tuesday, 2 June 2020 .......................................................................................................................................... 15 Wednesday, 3 June 2020 .................................................................................................................................... 21 Thursday, 4 June 2020 ........................................................................................................................................ 27 Friday, 5 June 2020 ............................................................................................................................................. 33 Saturday, 6 June 2020 ......................................................................................................................................... 39 2 | P a g e ABC KIDS/COMEDY Program Guide: Week 23 Sunday 31 May 2020 Program Guide Sunday, 31 May 2020 5:00am The Hive (Repeat,G) 5:10am Pocoyo
    [Show full text]
  • Adeline Mowbray, Or, the Bitter Acceptance of Woman’S Fate
    Revista Alicantina de Estudios Ingleses 23 (2010): 187-211 Adeline Mowbray, or, the Bitter Acceptance of Woman’s Fate Aída Díaz Bild University of La Laguna [email protected] ABSTRACT Eighteenth-century women writers believed that the novel was the best vehicle to educate women and offer them a true picture of their lives and “wrongs”. Adelina Mowbray is the result of Opie’s desire to fulfil this important task. Opie does not try to offer her female readers alternatives to their present predicament or an idealized future, but makes them aware of the fact that the only ones who get victimized in a patriarchal system are always the powerless, that is to say, women. She gives us a dark image of the vulnerability of married women and points out not only how uncommon the ideal of companionate marriage was in real life, but also the difficulty of finding the appropriate partner for an egalitarian relationship. Lastly, she shows that there is now social forgiveness for those who transgress the established boundaries, which becomes obvious in the attitude of two of the most compassionate and generous characters of the novel, Rachel Pemberton and Emma Douglas, towards Adelina. Amelia Opie was one of the most popular and celebrated authors during the 1800s and 1810s, whose techniques and themes reveal her to be a representative woman novelist of her time. Unfortunately, her achievements were eclipsed by those of Elizabeth Gaskell, George Eliot, Charles Dickens or the Brontës, and for a long time her work remained entirely forgotten. However, in the last years there has been a growing interest to recover and reappraise her novels and poems, trying to establish links between Opie and other late eighteenth- and early nineteenth-century women writers.
    [Show full text]
  • Passion and Language in Eighteenth- Century Literature
    Copyrighted Material - 9781137442048 Passion and Language in Eighteenth- Century Literature The Aesthetic Sublime in the Work of Eliza Haywood, Aaron Hill, and Martha Fowke Earla Wilputte Copyrighted Material - 9781137442048 Copyrighted Material - 9781137442048 PASSION AND LANGUAGE IN EIGHTEENTH- CENTURY LITERATURE Copyright © Earla Wilputte, 2014. All rights reserved. An earlier version of part of Chapter 4 originally appeared in the essay “Eliza Haywood’s Poems on Several Occasions: Aaron Hill, Writing, and the Sublime,” Eighteenth- Century Women: Studies in their Lives, Work, and Culture 6 (2011): 79– 102 (AMS Press). Part of Chapter 5 originally appeared in the essay “Midwife for the Mind: Delivering the Passions in Aaron Hill’s The Plain Dealer (1724),” Journal for Eighteenth- Century Studies 31, no. 1 (2008): 1– 15. They are used here in revised form, with permission. First published in 2014 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978- 1- 137- 44204- 8 Library of Congress Cataloging- in- Publication Data Wilputte, Earla Arden, 1959– Passion and language in eighteenth- century literature : the aesthetic sublime in the work of Eliza Haywood, Aaron Hill, and Martha Fowke / by Earla Wilputte.
    [Show full text]
  • Pamela, Anti-Pamela, and the Tradition of Women's Amatory Fiction
    NTU Studies in Language and Literature 107 Number 21 (June 2009), 107-144 Influence or “Influenza”? Pamela, Anti-Pamela, and the Tradition of Women’s Amatory Fiction Jing-fen Su Ph. D. Student, Graduate Institute of Foreign Languages and Literatures National Taiwan University ABSTRACT The publication of Samuel Richardson’s Pamela in November 1740 was an immediate success, and the frenzy over the immensely popular novel quickly developed into an unprecedented sensational event commonly called “the Pamela controversy.” Among the very first literary responses to the Pamela vogue are Henry Fielding’s Shamela (April 1741) and Eliza Haywood’s Anti-Pamela (June 1741), published within less than two months from each other. A closer look at the three novels, however, reveals that Haywood’s Anti-Pamela is curiously closer in style to Richardson’s Pamela than to Fielding’s Shamela, despite the fact that both Fielding and Haywood aim at attacking Richardson with their parodic novels. As one of the first attempts to deal with the intertextual influences between Richardson’s Pamela and Haywood’s much neglected work Anti-Pamela, in this essay I argue that the similarity in style between the two texts comes not from Haywood’s imitating Richardson, but rather from Richardson’s incorporating elements from the tradition of women’s amatory fiction, of which Haywood’s works in the 1720s constitute a significant part. In other words, despite his consistent disparagement of such writings by women as “influenza,” Richardson’s text betrays his indebtedness to Haywood, and in composing Anti-Pamela, Haywood does not depart much from her earlier novelistic style, thus leading to the false impression that Haywood is following Richardson in style.
    [Show full text]
  • Memoir of Amelia Opie
    ' • ; ,: mmff^fffiKiiJiM mm —-rt FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON, D. D BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY — : Amelia Opie'3 Later Ye.mis.—She sud- denly discovered that all is vanity : she took to gray silks and muslin, and the " thee" and " thou," quoted Habakkuk and Micah with gusto, and set her heart upon preach- ing. That, however, was not allowed. Her Quaker friends could never be sufficiently sure how much was " imagination," and how much the instigation of "the inward witness;" and the privileged gallery in the chapel was closed against her, and her utterance was confined to loud sighs in the body of the Meeting. She tende I is decline ; she im- proved greatly in balance of mind and even- ness of spirits during her long and close in- timacy v ith the Gukneys : and there never l1 her beneficent disposi- tion, shown bv her family d -, no by her 1 i nnty to ti e poor. Her maj 5stic form moved through the narrow nt city, and her bright bag up the most wretched ever lost i ts bright nor the heart its youthfi dgayety. She was a merry laugher inner* even, if the truth be spoken, still a bit of a, romp—ready for bo-peep and hide-a'od-seek, in the midst of a morning call, or at the end of a grave conversation. She e-bjov d sho -ingpiim young Quaker girls her orna- ments, plumes and satins, and telling th-m when she wore them; and, when in I .
    [Show full text]
  • Microfilms Internationa! 300 N
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Pamela: Or, Virtue Reworded: the Texts, Paratexts, and Revisions That Redefine Samuel Richardson’S Pamela
    Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela Jarrod Hurlbert Marquette University Recommended Citation Hurlbert, Jarrod, "Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela" (2012). Dissertations (2009 -). Paper 194. http://epublications.marquette.edu/dissertations_mu/194 PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA by Jarrod Hurlbert, B.A., M.A. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin May 2012 ABSTRACT PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA Jarrod Hurlbert, B.A., M.A. Marquette University, 2012 This dissertation is a study of the revisions Samuel Richardson made to his first novel, Pamela, and its sequel, Pamela in Her Exalted Condition, published within his lifetime. Richardson, who was his own printer, revised Pamela eight times over twenty years, the sequel three times, and the majority of the variants have hitherto suffered from critical neglect. Because it is well known that Richardson responded to friendly and antagonistic “collaborators” by making emendations, I also examine the extant documents that played a role in Pamela’s development, including Richardson’s correspondence and contemporary criticisms of the novel. Pamela Reworded, then, is an explanation, exhibition, and interpretation of what Richardson revised, why he revised, and, more importantly, how the revisions affect one’s understanding of the novel and its characters.
    [Show full text]