Bøger af Alison Conway

This ambitious interdisciplinary study undertakes a new definition of the eighteenth-century novel's investment in vision and visual culture, tracing the relationship between the development of the novel and that of the equally contentious genre of the portrait, particularly as represented in the novel itself. Working with the novels of Richardson, Fielding, Haywood, Manley, Sterne, Wollstonecraft and Inchbald, and the portraits of Reynolds, Gainsborough, Highmore, Hudson, Hogarth, and others, Private Interests points to the intimate connections between the literary works and the paintings. Arguing that the novel's representation of the portrait sustains a tension between competing definitions of private interests, Conway shows how private interests are figured as simultaneously decorous and illicit in the novel, with the portrait at once an instrument of propriety and of scandal. Examining women's roles as both authors of and characters in the novel and the novel's encounters with the portrait, the author provides a new definition of private interests, one which highlights the development of women's agency as both spectacles and spectators.

The Protestant Whore reveals the recurring connection between sexual impropriety and religious heterodoxy in Restoration thought, and Nell Gwyn, writ large as the nation's Protestant Whore, is shown to be a significant figure of sexual, political, and religious controversy.

The Protestant Whore reveals the recurring connection between sexual impropriety and religious heterodoxy in Restoration thought, and Nell Gwyn, writ large as the nation's Protestant Whore, is shown to be a significant figure of sexual, political, and religious controversy.

This study undertakes a new definition of the 18th-century novel's investment in visual culture, tracing the relationship between the development of the novel and that of the portrait, particularly as represented in the novel itself.