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UNIVERSITY of CALIFORNIA RIVERSIDE Ann UNIVERSITY OF CALIFORNIA RIVERSIDE Ann Radcliffe and the Scientific Imaginary: Education, Observation, and Sensibility A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Rebecca Mary Addicks-Salerno September 2017 Dissertation Committee: Dr. Adriana Craciun, Chairperson Dr. George Haggerty Dr. Heidi Brayman Copyright by Rebecca Mary Addicks-Salerno 2017 The Dissertation of Rebecca Mary Addicks-Salerno is approved: Committee Chairperson University of California, Riverside Dedication This dissertation owes so much to the support of my committee: Adriana Craciun, George Haggerty, and Heidi Brayman. Professor Craciun’s extensive feedback and constant encouragement made a great impact on my ability to find joy in research and writing. Professor Haggerty’s reading groups, and his insights into the less-studied aspects of Gothic literature, inspired me to keep evolving my ideas about Radcliffe—and literature in general. And Professor Brayman’s help tracing the arc of early modern science and print history opened up a new path for thinking about material expressions of knowledge. Their encouragement, advice, and support have been invaluable. I am also eternally grateful for the mentorship and friendship of Professor Clorinda Donato, without whom I would have never made it to this Ph.D. program. Stephen Tabor, the Curator of Early Printed Books at the Huntington Library was a generous mentor in my transition from library school to Ph.D. program, as was Carol Sandberg at Michael Thompson Rare Books. Russell Johnson, the Curator of History and Special Collections at the UCLA Louise M. Darling Biomedical Library, and Teresa Jonson, the assistant for those collections, were especially helpful to me as I began this project. The staff of the Huntington Library made doing research for the first three chapters of this dissertation a complete joy with their patience and knowledge. I was privileged to conduct research at the British Library, as well as La Specola in Florence, the Catacombe dei Cappuccini in Palermo, and the Sansevero Chapel Museum in Naples for my fourth chapter. iv None of this would have been possible without Nick and Ari, who kept me fed and reminded me to take breaks during long hours of reading and work. And, of course, my parents, Bob and Karen, who have shared their home with us, and supported me throughout this process. My in-laws, Diane and Phil offered tremendous support as well, along with my grandmother, Helen. I have received so much love from my friends throughout this process, both in the program and from my life before grad school: Laura, Cat, Deirdre, Shaughn, Roya, Tara, Jen, Stephanie and Bonnie have kept me grounded in the world around me. Flavia, Jennie, and Anne have helped me edit my work, and inspired me to go further, and my DE BAM printing colleagues have showed me the type of community that comes from working side-by-side on a common project. The world lost too many good people in the years it took me to complete this program. I would especially like to thank my Uncle Jerry for encouraging me to find my own path, and my friend Jon for saving my life once; I’m so sorry I couldn’t save yours. As E.M. Forster writes in Howards End: “Only connect.” I used to think that scholarship was by necessity solitary work. Now I see that the best work I have done was born of my connections to those around me, along with the connections I have had to make within myself. v ABSTRACT OF THE DISSERTATION Ann Radcliffe and the Scientific Imaginary: Education, Observation, and Sensibility by Rebecca Mary Addicks-Salerno Doctor of Philosophy, Graduate Program in English University of California, Riverside, September 2017 Dr. Adriana Craciun, Chairperson This dissertation explores Ann Radcliffe’s use of eighteenth-century sciences, and scientific practice within her novels, in a way that presents the relationship between science and the imagination as reciprocal and dialogic in her work. So much Ann Radcliffe scholarship has focused on her use of description and imagination—while ignoring her engagement with natural history and the sciences—that an exploration of these topics seems overdue. From the beginning, Ann Radcliffe’s novels were linked with the so-called “terrorist novel writing” that enjoyed tremendous popularity at the turn of the nineteenth century; because of this, it is the supernatural and superstitious elements which have taken center stage, while little critical attention has been paid to the role that Radcliffe’s work played in the greater culture of Enlightenment and Romantic literature. To focus on the Gothic elements of Radcliffe’s central novels, without acknowledging her engagement with science and the scientific method that came about during the vi eighteenth century, would be to miss in part what made her work so relevant to her contemporaries, as well as authors who came after her, such as Mary Shelley. Starting with the idea of the eighteenth-century novel as a part of a cultural system that linked science and fiction to create a type of scientific fiction, I examine the ways in which Radcliffe referred to, and contributed to, current conversations and conventions about empiricism, sensibility, and knowledge. Through her inclusion of contemporary scientific practice and debate within her novels, ranging from: botany and familiar sciences, to medicine and anatomy, to the pseudo-science of physiognomy, we can begin to see the ways that she both contributed to and questioned the greater landscape of science at the end of the eighteenth century. vii Table of Contents Introduction ........................................................................................................................1 Chapter 1 ..........................................................................................................................20 Chapter 2 ..........................................................................................................................71 Chapter 3 ........................................................................................................................115 Chapter 4 ........................................................................................................................159 Conclusion ......................................................................................................................199 Bibliography ...................................................................................................................202 viii Introduction Though Mrs. Radcliffe be correct and faithful to the truth of geography and natural history, yet is she often, nay, for the most part, minute even to tedious prolixity in her local descriptions; a weight which would have hung with a deadening power about the neck of a composition not animated by the utmost vigour of imagination. (From a review in European Magazine and London Review 25, June 1794) The review above contains one of the earliest published acknowledgements of Ann Radcliffe’s power to combine imagination with observation and “truth,” as defined by the language of natural sciences. However, in the years since its publication, while Ann Radcliffe’s “vigour of imagination” has been well established, her faith “to the truth of… natural history” and science seems to still be up for debate. So much Ann Radcliffe scholarship has focused on her use of description and imagination—along with her habit of explaining many of the great mysteries of her novels—while ignoring her engagement with natural history and the sciences, that an exploration of these topics seems overdue. This dissertation project focusses on the ways in which Ann Radcliffe presented eighteenth century science and scientific practice within her novels, placing them in conversation with other forms of enlightenment literature, and scientific debate, in a way that illuminates the “scientific imaginary” of her work. According to John Bender, “The Eighteenth-Century novel was part of a cultural system that worked to validate Enlightenment canons of knowledge by dynamically linking the realms of science and fiction in the very process of setting them in 1 opposition.”1 While Bender sees this opposition as a systemic division between the genres of “fact” and “fiction,” he acknowledges that although science and fiction were rhetorically placed in opposition, the connections between them remained strong during the long eighteenth century. Starting from this idea of the eighteenth-century novel as a part of a cultural system that linked science and fiction, even as distinctions were being drawn between the genres, I examine the ways in which Radcliffe referred to and contributed to current conversations and conventions about knowledge, through her inclusion of contemporary scientific practice and debate within her novels. It is my belief that by relating Radcliffe’s novels to scientific systems, texts, and objects produced and read during the eighteenth century, we can begin to see the ways that she both contributed to and questioned the greater culture of science at the end of the eighteenth century. From the beginning, Ann Radcliffe’s novels were linked with the so-called “terrorist novel writing” that enjoyed tremendous popularity at the turn of the nineteenth century;2 because of this, it is the supernatural and superstitious elements which have taken center stage, while little critical attention has been paid to the role that Radcliffe’s work played in the greater
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