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By Adriana Craciun, Kari Lokke

Examines the total spectrum of women's participation within the social, financial, non secular, and poetic debates surrounding the French Revolution.

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Additional resources for Rebellious Hearts: British Women Writers and the French Revolution (S U N Y Series in Feminist Criticism and Theory)

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H. Abrams’s characterization of “the spirit of the age” represents, and indeed, founded, this interpretative tradition: “The great Romantic poems were written not in the mood of revolutionary exaltation but in the later mood of revolutionary disillusionment or despair,” (53) when “the militancy of overt political action” had evolved into “the paradox of spiritual quietism,” (58). See “English Romanticism: The Spirit of the Age,” Romanticism Reconsidered, ed. Northrop Frye (New York: Columbia University Press, 1963).

Marat and his assassin, Charlotte Corday, are central players in Craik’s novel, who alongside fictional characters drawn from Walpole’s The Castle of Otranto offer readers an illuminating historicization of the Gothic novel’s central literary and gender conventions. As Adriana Craciun shows, Helen Craik used Corday’s controversial example of public and violent agency to imagine new forms of female subjectivity, and by doing so, established a threshold between the Gothic and the historical novel.

26. Leonore Davidoff, “Regarding Some ‘Old Husbands’ Tales: Public and Private in Feminist History,” Feminism, the Public and the Private, ed. Joan B. Landes (Oxford: Oxford University Press, 1998), 164–94. Davidoff speaks of “multiple publics” rather than “counter-public” spheres. 27. Charlotte Smith, Desmond, ed. Antje Blank and Janet Todd (London: Pickering and Chatto, 1997), 6. 28. Having its roots in the outsider status of women in relation to bourgeois patriarchal institutions, this claim of non-partisanship bears comparison with the rejection of party politics attributed to the radical opposition of the 1790s and beyond by Kevin Gilmartin in Print Politics: The Press and Radical Opposition in Early Nineteenth-Century England (Cambridge: Cambridge University Press, 1992), 11–64.

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