In The Ideology of Conduct, first published in 1987, scholars from various fields, from the medieval period to the present day, discuss literature in which the sole purpose is to instruct women in how to make themselves desirable. This collection investigates how middle-class writers who had long emulated the behaviour of the aristocracy began to criticise that behaviour by formulating an alternative object of desire. They did so without appearing to breed political controversy because it seemed to concern only the female. But writing for and about women in fact became a powerful instrument of hegemony as it introduced a whole new vocabulary for social relations, induced certain forms of economic behaviour as desirable in men and women respectively, and insured the reproduction of the nuclear family. It is argued, therefore, that the literature of conduct not only recorded but also assisted the production of our contemporary gender-based culture.

First published in 1989, this collection of essays brings into focus the history of a specific form of violence - that of representation. The contributors identify representations of self and other that empower a particular class, gender, nation, or race, constructing a history of the west as the history of changing modes of subjugation. The essays bring together a wide range of literary and historical work to show how writing became an increasingly important mode of domination during the modern period as ruling ideas became a form of violence in their own right. This reissue will be of particular value to literature students with an interest in the concept of violence, and the boundaries and capacity of discourse.

In The Ideology of Conduct, first published in 1987, scholars from various fields, from the medieval period to the present day, discuss literature in which the sole purpose is to instruct women in how to make themselves desirable. This collection investigates how middle-class writers who had long emulated the behaviour of the aristocracy began to criticise that behaviour by formulating an alternative object of desire. They did so without appearing to breed political controversy because it seemed to concern only the female. But writing for and about women in fact became a powerful instrument of hegemony as it introduced a whole new vocabulary for social relations, induced certain forms of economic behaviour as desirable in men and women respectively, and insured the reproduction of the nuclear family. It is argued, therefore, that the literature of conduct not only recorded but also assisted the production of our contemporary gender-based culture.

First published in 1986. 'Impressively open to the complexity of cultural discourses, to the ways in which one discursive form may function as a screen for another above all to the political entailment of genre.'Stephen Greenblatt. What is the relation between literary and political power? How do the symbolic dimensions of social practice and the social dimensions of artistic practice relate to one another? Power on Display considers Shakespeare's progression from romantic comedies and history plays to tragedy and romance in the light of the general process of cultural change in the period.

First published in 1989, this collection of essays brings into focus the history of a specific form of violence - that of representation. The contributors identify representations of self and other that empower a particular class, gender, nation, or race, constructing a history of the west as the history of changing modes of subjugation. The essays bring together a wide range of literary and historical work to show how writing became an increasingly important mode of domination during the modern period as ruling ideas became a form of violence in their own right. This reissue will be of particular value to literature students with an interest in the concept of violence, and the boundaries and capacity of discourse.

First published in 1986. 'Impressively open to the complexity of cultural discourses, to the ways in which one discursive form may function as a screen for another above all to the political entailment of genre.'Stephen Greenblatt. What is the relation between literary and political power? How do the symbolic dimensions of social practice and the social dimensions of artistic practice relate to one another? Power on Display considers Shakespeare's progression from romantic comedies and history plays to tragedy and romance in the light of the general process of cultural change in the period.

American literature is typically seen as something that inspired its own conception and that sprang into being as a cultural offshoot of America's desire for national identity. But what of the vast precedent established by English literature, which was a major American import between 1750 and 1850? In The Importance of Feeling English, Leonard Tennenhouse revisits the landscape of early American literature and radically revises its features. Using the concept of transatlantic circulation, he shows how some of the first American authors--from poets such as Timothy Dwight and Philip Freneau to novelists like William Hill Brown and Charles Brockden Brown--applied their newfound perspective to pre-existing British literary models. These American "re-writings" would in turn inspire native British authors such as Jane Austen and Horace Walpole to reconsider their own ideas of subject, household, and nation. The enduring nature of these literary exchanges dramatically recasts early American literature as a literature of diaspora, Tennenhouse argues--and what made the settlers' writings distinctly and indelibly American was precisely their insistence on reproducing Englishness, on making English identity portable and adaptable. Written in an incisive and illuminating style, The Importance of Feeling English reveals the complex roots of American literature, and shows how its transatlantic movement aided and abetted the modernization of Anglophone culture at large.

American literature is typically seen as something that inspired its own conception and that sprang into being as a cultural offshoot of America's desire for national identity. But what of the vast precedent established by English literature, which was a major American import between 1750 and 1850?

In "The Importance of Feeling English," Leonard Tennenhouse revisits the landscape of early American literature and radically revises its features. Using the concept of transatlantic circulation, he shows how some of the first American authors--from poets such as Timothy Dwight and Philip Freneau to novelists like William Hill Brown and Charles Brockden Brown--applied their newfound perspective to pre-existing British literary models. These American "re-writings" would in turn inspire native British authors such as Jane Austen and Horace Walpole to reconsider their own ideas of subject, household, and nation.

The enduring nature of these literary exchanges dramatically recasts early American literature as a literature of diaspora, Tennenhouse argues--and what made the settlers' writings distinctly and indelibly American was precisely their insistence on reproducing Englishness, on making English identity portable and adaptable. Written in an incisive and illuminating style, "The Importance of Feeling English" reveals the complex roots of American literature, and shows how its transatlantic movement aided and abetted the modernization of Anglophone culture at large.

During the thirty years following ratification of the U.S. Constitution, the first American novelists carried on an argument with their British counterparts that pitted direct democracy against representative liberalism. Such writers as Hannah Foster, Isaac Mitchell, Royall Tyler, Leonore Sansay, and Charles Brockden Brown developed a set of formal tropes that countered, move for move, those gestures and conventions by which Samuel Richardson, Jane Austen, and others created their closed worlds of self, private property, and respectable society. The result was a distinctively American novel that generated a system of social relations resembling today's distributed network. Such a network operated counter to the formal protocols that later distinguished the great tradition of the American novel. In Novels in the Time of Democratic Writing, Nancy Armstrong and Leonard Tennenhouse show how these first U.S. novels developed multiple paths to connect an extremely diverse field of characters, redefining private property as fundamentally antisocial and setting their protagonists to the task of dispersing that property-its goods and people-throughout the field of characters. The populations so reorganized proved suddenly capable of thinking and acting as one. Despite the diverse local character of their subject matter and community of readers, the first U.S. novels delivered this argument in a vernacular style open and available to all. Although it differed markedly from the style we attribute to literary authors, Armstrong and Tennenhouse argue, such democratic writing lives on in the novels of Cooper, Hawthorne, Melville, and James.

Nancy Armstrong and Leonard Tennenhouse challenge traditional accounts of the origins of modern Anglo-American culture by focusing on the emergence of print culture in England and the North American colonies. They postulate a modern middle class that consisted of authors and intellectuals who literally wrote a new culture into being. Milton's Paradise Lost marks the emergence of this new literacy. The authors show how Milton helped transform English culture into one of self-enclosed families made up of self-enclosed individuals. However, the authors point out that the popularity of Paradise Lost was matched by that of the Indian captivity narratives that flowed into England from the American colonies. Mary Rowlandson's account of her forcible separation from the culture of her origins stresses the ordinary person's ability to regain those lost origins, provided she remains truly English. In a colonial version of the Miltonic paradigm, Rowlandson sought to return to a family of individuals much like the one in Milton's depiction of the fallen world. Thus the origin both of modern English culture and of the English novel are located in North America. American captivity narratives formulated the ideal of personal life that would be reproduced in the communities depicted by Defoe, Richardson, and later domestic fiction. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1992.

Nancy Armstrong and Leonard Tennenhouse challenge traditional accounts of the origins of modern Anglo-American culture by focusing on the emergence of print culture in England and the North American colonies. They postulate a modern middle class that consisted of authors and intellectuals who literally wrote a new culture into being. Milton's Paradise Lost marks the emergence of this new literacy. The authors show how Milton helped transform English culture into one of self-enclosed families made up of self-enclosed individuals. However, the authors point out that the popularity of Paradise Lost was matched by that of the Indian captivity narratives that flowed into England from the American colonies. Mary Rowlandson's account of her forcible separation from the culture of her origins stresses the ordinary person's ability to regain those lost origins, provided she remains truly English. In a colonial version of the Miltonic paradigm, Rowlandson sought to return to a family of individuals much like the one in Milton's depiction of the fallen world. Thus the origin both of modern English culture and of the English novel are located in North America. American captivity narratives formulated the ideal of personal life that would be reproduced in the communities depicted by Defoe, Richardson, and later domestic fiction. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1992.