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008 210621t20211993pau fo d z eng d
020 _a9780271074863
_qPDF
024 7 _a10.1515/9780271074863
_2doi
035 _a(DE-B1597)9780271074863
035 _a(DE-B1597)583634
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPR858.W6
_bC73 1993
072 7 _aSOC028000
_2bisacsh
082 0 4 _a823/.5099287
_220
084 _aonline - DeGruyter
100 1 _aCraft-Fairchild, Catherine A.
_eautore
245 1 0 _aMasquerade and Gender :
_bDisguise and Female Identity in Eighteenth-Century Fictions by Women /
_cCatherine A. Craft-Fairchild.
264 1 _aUniversity Park, PA :
_bPenn State University Press,
_c[2021]
264 4 _c©1993
300 _a1 online resource (204 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_t1. Introduction --
_t2. Aphra Behn's The Dumb Virgin and Mary Davys's The Accomplished Rake: The Darker Side of Masquerade --
_t3. Eliza Haywood and the Masquerade of Femininity --
_t4. Elizabeth Inchbald's Not So Simple Story --
_t5. Feminine Excess: Frances Burney's The Wanderer --
_tConclusion --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aTerry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period-Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential.Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 21. Jun 2021)
650 0 _aDisguise in literature.
650 0 _aEnglish fiction
_xWomen authors
_xHistory and criticism.
650 0 _aEnglish fiction
_y18th century
_xHistory and criticism.
650 0 _aFemininity in literature.
650 0 _aIdentity (Psychology) in literature.
650 0 _aSex role in literature.
650 0 _aWomen and literature
_zGreat Britain
_xHistory
_y18th century.
650 7 _aSOCIAL SCIENCE / Women's Studies.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780271074863?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780271074863
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9780271074863.jpg
942 _cEB
999 _c187364
_d187364