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The Journal of Eighteenth-Century English Literature

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수록정보
18권2호(2021) |수록논문 수 : 6
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18권2호(2021년 11월) 수록논문
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KCI등재

1인치볼드의 『단순한 이야기』에 나타난 정서적 법 관념

저자 : 김진 ( Jin Kim )

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 1-35 (35 pages)

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This study examines the affective conceptualization of the law in Elizabeth Inchbald's A Simple Story in the context of the early 1790s “Revolution debate” in Britain. The relationship between feeling and the law became a controversial issue when Edmund Burke, in Reflections on the Revolution in France, exhorted the British people to have 'affection' for their constitution. Proponents of legal reform such as Mary Wollstonecraft and Thomas Paine criticized Burke's sentimental rhetoric as a political ploy, urging instead for rational investigations into the wrongs of the legal system. Although it highlights the harms of an unjust law, A Simple Story insinuates that reason may have a limited role in redressing legal injustice. At Elmwood castle, presented as a microcosm of the British society, emotion rather than reason directs both the installation and repeal of the patriarch's inequitable 'law'. Through its unflinching portrayal of the irrelevance of reasoning in the vicissitudes of a private injunction, Inchbald's novel suggests the need to explore, rather than ignore, the emotional context of legislation for truly meaningful legal reform.

KCI등재

2왕과 나: 스튜어트 왕가에 대한 만가(挽歌)로서의 존 드라이든의 『돈 세바스티안』과 『클레오메네스』

저자 : 전인한 ( In-han Jeon )

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 37-75 (39 pages)

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The purpose of this paper is to examine John Dryden's appraisal of his relationship with Post-1688 Britain as a non-juror in his last two tragedies, Don Sebastian (1689) and Cleomenes (1692). This paper argues that Dryden takes an ambivalent stance towards the Stuart monarchy to which he is still loyal in his dramatization of historical figures who lost their thrones, Don Sebastian of Portugal and Cleomenes of Sparta. In Don Sebastian Dryden debunks the myth of the Glorious Revolution by revealing the self-interest operating behind its slogans such as 'religion,' 'property,' and 'law.' However, Dryden does not believe in the possibility of another restoration as he exposes covertly the royal flaws of James II through the incest of Sebastian and Almeyda that causes the failure of their restoration to their thrones. Dryden's skepticism about the possibility of another restoration is repeated and even intensified in Cleomenes. In Cleomenes, Cleomenes's heroic quality as a rightful king is acclaimed only to be deflated, as his heroic quality comes to be under constant stress and his impotence to control the circumstance is repeatedly revealed. This paper argues that, though Cleomenes's final suicide seems on the surface heroic and honourable, it only confirms his inability to work a restoration. In this respect, Don Sebastian and Cleomenes are Dryden's elegies on the Stuart monarchy that reveals yesterday cannot return to become the present. However, this paper asserts that Dryden also uses these dramas to argue for his worth as a dramatist who can turn his plight as a non-juror and skepticism about his master into a worthy art and a commercial success.

KCI등재

3The Anacreontic Tradition in Early Modern English Poetry

저자 : Joseph L. Black , Youngjin Chung

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 77-103 (27 pages)

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A collection of poems published in the mid-sixteenth century and attributed to the ancient Greek poet Anacreon (sixth century BCE) provided European poets with an important model of poetic persona and practise for three hundred years. Praised for their sweetness and simplicity, Anacreontic odes were widely imitated and translated until their reputation plummeted in the nineteenth century with the discovery that they represented not genuine archaic Greek lyric but a later tradition of Hellenistic imitation. The loss of cultural prestige has meant that a once-significant poetic mode has remained understudied. This paper surveys the early modern English Anacreontic tradition, beginning with Edmund Spenser and concluding with Royalist poetry of the later seventeenth century, with a focus on an unpublished and not previously discussed manuscript translation (c.1660) of the complete Anacreontea. In the late sixteenth century, Anacreontics played a role in the transition away from Petrarchan frustration, denial, and idealism toward a poetry expressive of sensuality and desire; in the earlier seventeenth century, they offered a model of witty situation and epigrammatic concision; in the mid-seventeenth century they helped in the creation of a royalist poetics. Few classical traditions have performed as much poetically productive critical work in the early modern period, and yet remain so little known or studied.

KCI등재

4Mary Davys's Rambling Travels and Disorderly Wit in The Merry Wanderer

저자 : Ja Yun Choi

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 105-135 (31 pages)

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While Mary Davys is considered to have played a significant role in the development of the English novel, she has received little literary attention, most of which is focused on her last three novels. This article seeks to redress such a critical imbalance by examining one of her earlier works, The Merry Wanderer (1725), a partly autobiographical text in which Davys relates her travels through rural England after the death of her husband. First published as The Fugitive in 1705, it was revised and reissued under its altered title in her collected works, in which she carefully constructs her identity as a professional woman writer, a task that involved strategic maneuvering since she published during a period when female authors faced the danger of social disgrace for participating in a literary market that was still mostly dominated by men. In examining the ways in which Davys employs her rambling movements not only to establish her authority as a respectable female traveler and writer, but also to tacitly challenge the established social order in The Merry Wanderer, this article sheds light on the covert means Davys employs to interrogate contemporary ideals of femininity while seemingly reflecting the demands of the literary market. In so doing, it considers The Merry Wanderer's connections to her better-known novels, particularly The Reform'd Coquet (1724), thereby illustrating the former's valuable contribution to Davys's literary oeuvre.

KCI등재

5The English Abbey and the Modern Gothic Nation in Northanger Abbey and Emma

저자 : Yulim Ha

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 137-172 (36 pages)

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In her portrayal of the English abbey in Northanger Abbey (1817) and Emma (1816), Jane Austen explores the place of the Gothic in modern England within the context of English nationalism. By establishing the ancient abbeys which evoked nostalgic feelings as the home of two English gentlemen, General Tilney and Mr. Knightley, she investigates two different ways of imagining the past and the future of the nation. Conflicting and conflated views of the ancient Gothic heritage in conjunction with the modern ethic of improvement complicate understandings of the changing landscape of modern England. Austen examines the two sides of improvement by depicting how the two gentlemen manage their respective abbeys. By doing so, the Gothic is revisited to re-evaluate modern England.
In Northanger Abbey, Austen criticizes modern corruption driven by excessive pursuit of wealth through General Tilney and his home. Northanger Abbey, despite its luxurious improvement by the General, reflects how “gothic” modern England is in the pejorative sense of the term as reflected in the contemporary gothic fictions. The novelist reveals the vulnerability of modern society by emphasizing how the military defender of the nation is in fact the most corrupted individual in a money-driven society.
In Emma, Austen presents Mr. Knightley's Donwell Abbey as an ideal community. The unpretentious Abbey is represented as the emblem of true “Englishness” unadulterated by the fashionable new vogue of landscape gardening. As the embodiment of a new ideal of the English national identity, Mr. Knightley embodies the ancient virtues of the Gothic past. By doing so, he participates in forming a modern nation which is anchored in more horizontal relationships between individuals based on a community of mutual respect and care. Austen's portrayal of an equal partnership between Mr. Knightley and Emma reflects the growing importance of women's role in forging a morally secure modern home and nation.

KCI등재

6Werewolves, Giants, and Gulliver: Marvelous Bodies in the Posthuman Predicament

저자 : Siyeon Lee

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 173-212 (40 pages)

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This essay proposes to reappraise the monstrous creatures at the liminality of humanity in Gerald of Wales's Topography of Ireland and Jonathan Swift's Gulliver's Travels as marvelous bodies in the posthuman predicament, particularly at the intersection of the posthuman and the colonial. Apart from its latest theoretical sophistication and primary associations with the cyborgic human, posthuman thinking is not confined to the present century but stimulates new readings of older texts, committed to reconsidering the human itself and the human-nonhuman boundaries, challenging the unitary, normative subject of the Enlightenment, and understanding bodies of difference from non-normative perspective. This essay focuses on the different ways Gerald's and Swift's monstrous creatures appear to viewers, for the monstrous is associated both etymologically and cognitively with morphological transgression and constructed as such in certain frames of view. Despite the manifestly colonial agenda of the Topography as a whole, the story of the werewolves of Ossory grants them potent subjectivity in both text and illustration, and Gerald's own intervention in the story suggests ambiguity, thus partially conceding to the ailing she-wolf demanding to die a human. In contrast, Gulliver is the first giant in the Travels whose voracious body and behavior, threatening carnage and cannibalism, embodies the very monstrous, and he further suffers a series of dysmorphic transformation. Oblivious to his own posthuman shapeshifting, Gulliver turns to all other bodies than his own the dehumanizing view of a micrographer like Robert Hook, denying their wholeness in difference. It is this Gulliverian eye that reduces Irish bodies to mere edibles, wearables, and biodegradables in A Modest Proposal. Gulliver is subjected to that very microscopic inspection by Brobdingnaggian philosophers and labelled Lusus Naturæ. It turns out that monstrosity is in the enhanced and Enlightened eye of the beholder, like the deformed eyes of the Laputans.

1
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KCI등재

1인치볼드의 『단순한 이야기』에 나타난 정서적 법 관념

저자 : 김진 ( Jin Kim )

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 1-35 (35 pages)

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초록보기

This study examines the affective conceptualization of the law in Elizabeth Inchbald's A Simple Story in the context of the early 1790s “Revolution debate” in Britain. The relationship between feeling and the law became a controversial issue when Edmund Burke, in Reflections on the Revolution in France, exhorted the British people to have 'affection' for their constitution. Proponents of legal reform such as Mary Wollstonecraft and Thomas Paine criticized Burke's sentimental rhetoric as a political ploy, urging instead for rational investigations into the wrongs of the legal system. Although it highlights the harms of an unjust law, A Simple Story insinuates that reason may have a limited role in redressing legal injustice. At Elmwood castle, presented as a microcosm of the British society, emotion rather than reason directs both the installation and repeal of the patriarch's inequitable 'law'. Through its unflinching portrayal of the irrelevance of reasoning in the vicissitudes of a private injunction, Inchbald's novel suggests the need to explore, rather than ignore, the emotional context of legislation for truly meaningful legal reform.

KCI등재

2왕과 나: 스튜어트 왕가에 대한 만가(挽歌)로서의 존 드라이든의 『돈 세바스티안』과 『클레오메네스』

저자 : 전인한 ( In-han Jeon )

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 37-75 (39 pages)

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초록보기

The purpose of this paper is to examine John Dryden's appraisal of his relationship with Post-1688 Britain as a non-juror in his last two tragedies, Don Sebastian (1689) and Cleomenes (1692). This paper argues that Dryden takes an ambivalent stance towards the Stuart monarchy to which he is still loyal in his dramatization of historical figures who lost their thrones, Don Sebastian of Portugal and Cleomenes of Sparta. In Don Sebastian Dryden debunks the myth of the Glorious Revolution by revealing the self-interest operating behind its slogans such as 'religion,' 'property,' and 'law.' However, Dryden does not believe in the possibility of another restoration as he exposes covertly the royal flaws of James II through the incest of Sebastian and Almeyda that causes the failure of their restoration to their thrones. Dryden's skepticism about the possibility of another restoration is repeated and even intensified in Cleomenes. In Cleomenes, Cleomenes's heroic quality as a rightful king is acclaimed only to be deflated, as his heroic quality comes to be under constant stress and his impotence to control the circumstance is repeatedly revealed. This paper argues that, though Cleomenes's final suicide seems on the surface heroic and honourable, it only confirms his inability to work a restoration. In this respect, Don Sebastian and Cleomenes are Dryden's elegies on the Stuart monarchy that reveals yesterday cannot return to become the present. However, this paper asserts that Dryden also uses these dramas to argue for his worth as a dramatist who can turn his plight as a non-juror and skepticism about his master into a worthy art and a commercial success.

KCI등재

3The Anacreontic Tradition in Early Modern English Poetry

저자 : Joseph L. Black , Youngjin Chung

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 77-103 (27 pages)

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(기관인증 필요)

초록보기

A collection of poems published in the mid-sixteenth century and attributed to the ancient Greek poet Anacreon (sixth century BCE) provided European poets with an important model of poetic persona and practise for three hundred years. Praised for their sweetness and simplicity, Anacreontic odes were widely imitated and translated until their reputation plummeted in the nineteenth century with the discovery that they represented not genuine archaic Greek lyric but a later tradition of Hellenistic imitation. The loss of cultural prestige has meant that a once-significant poetic mode has remained understudied. This paper surveys the early modern English Anacreontic tradition, beginning with Edmund Spenser and concluding with Royalist poetry of the later seventeenth century, with a focus on an unpublished and not previously discussed manuscript translation (c.1660) of the complete Anacreontea. In the late sixteenth century, Anacreontics played a role in the transition away from Petrarchan frustration, denial, and idealism toward a poetry expressive of sensuality and desire; in the earlier seventeenth century, they offered a model of witty situation and epigrammatic concision; in the mid-seventeenth century they helped in the creation of a royalist poetics. Few classical traditions have performed as much poetically productive critical work in the early modern period, and yet remain so little known or studied.

KCI등재

4Mary Davys's Rambling Travels and Disorderly Wit in The Merry Wanderer

저자 : Ja Yun Choi

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 105-135 (31 pages)

다운로드

(기관인증 필요)

초록보기

While Mary Davys is considered to have played a significant role in the development of the English novel, she has received little literary attention, most of which is focused on her last three novels. This article seeks to redress such a critical imbalance by examining one of her earlier works, The Merry Wanderer (1725), a partly autobiographical text in which Davys relates her travels through rural England after the death of her husband. First published as The Fugitive in 1705, it was revised and reissued under its altered title in her collected works, in which she carefully constructs her identity as a professional woman writer, a task that involved strategic maneuvering since she published during a period when female authors faced the danger of social disgrace for participating in a literary market that was still mostly dominated by men. In examining the ways in which Davys employs her rambling movements not only to establish her authority as a respectable female traveler and writer, but also to tacitly challenge the established social order in The Merry Wanderer, this article sheds light on the covert means Davys employs to interrogate contemporary ideals of femininity while seemingly reflecting the demands of the literary market. In so doing, it considers The Merry Wanderer's connections to her better-known novels, particularly The Reform'd Coquet (1724), thereby illustrating the former's valuable contribution to Davys's literary oeuvre.

KCI등재

5The English Abbey and the Modern Gothic Nation in Northanger Abbey and Emma

저자 : Yulim Ha

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 137-172 (36 pages)

다운로드

(기관인증 필요)

초록보기

In her portrayal of the English abbey in Northanger Abbey (1817) and Emma (1816), Jane Austen explores the place of the Gothic in modern England within the context of English nationalism. By establishing the ancient abbeys which evoked nostalgic feelings as the home of two English gentlemen, General Tilney and Mr. Knightley, she investigates two different ways of imagining the past and the future of the nation. Conflicting and conflated views of the ancient Gothic heritage in conjunction with the modern ethic of improvement complicate understandings of the changing landscape of modern England. Austen examines the two sides of improvement by depicting how the two gentlemen manage their respective abbeys. By doing so, the Gothic is revisited to re-evaluate modern England.
In Northanger Abbey, Austen criticizes modern corruption driven by excessive pursuit of wealth through General Tilney and his home. Northanger Abbey, despite its luxurious improvement by the General, reflects how “gothic” modern England is in the pejorative sense of the term as reflected in the contemporary gothic fictions. The novelist reveals the vulnerability of modern society by emphasizing how the military defender of the nation is in fact the most corrupted individual in a money-driven society.
In Emma, Austen presents Mr. Knightley's Donwell Abbey as an ideal community. The unpretentious Abbey is represented as the emblem of true “Englishness” unadulterated by the fashionable new vogue of landscape gardening. As the embodiment of a new ideal of the English national identity, Mr. Knightley embodies the ancient virtues of the Gothic past. By doing so, he participates in forming a modern nation which is anchored in more horizontal relationships between individuals based on a community of mutual respect and care. Austen's portrayal of an equal partnership between Mr. Knightley and Emma reflects the growing importance of women's role in forging a morally secure modern home and nation.

KCI등재

6Werewolves, Giants, and Gulliver: Marvelous Bodies in the Posthuman Predicament

저자 : Siyeon Lee

발행기관 : 한국18세기영문학회 간행물 : 18세기영문학 18권 2호 발행 연도 : 2021 페이지 : pp. 173-212 (40 pages)

다운로드

(기관인증 필요)

초록보기

This essay proposes to reappraise the monstrous creatures at the liminality of humanity in Gerald of Wales's Topography of Ireland and Jonathan Swift's Gulliver's Travels as marvelous bodies in the posthuman predicament, particularly at the intersection of the posthuman and the colonial. Apart from its latest theoretical sophistication and primary associations with the cyborgic human, posthuman thinking is not confined to the present century but stimulates new readings of older texts, committed to reconsidering the human itself and the human-nonhuman boundaries, challenging the unitary, normative subject of the Enlightenment, and understanding bodies of difference from non-normative perspective. This essay focuses on the different ways Gerald's and Swift's monstrous creatures appear to viewers, for the monstrous is associated both etymologically and cognitively with morphological transgression and constructed as such in certain frames of view. Despite the manifestly colonial agenda of the Topography as a whole, the story of the werewolves of Ossory grants them potent subjectivity in both text and illustration, and Gerald's own intervention in the story suggests ambiguity, thus partially conceding to the ailing she-wolf demanding to die a human. In contrast, Gulliver is the first giant in the Travels whose voracious body and behavior, threatening carnage and cannibalism, embodies the very monstrous, and he further suffers a series of dysmorphic transformation. Oblivious to his own posthuman shapeshifting, Gulliver turns to all other bodies than his own the dehumanizing view of a micrographer like Robert Hook, denying their wholeness in difference. It is this Gulliverian eye that reduces Irish bodies to mere edibles, wearables, and biodegradables in A Modest Proposal. Gulliver is subjected to that very microscopic inspection by Brobdingnaggian philosophers and labelled Lusus Naturæ. It turns out that monstrosity is in the enhanced and Enlightened eye of the beholder, like the deformed eyes of the Laputans.

1
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