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Journal articles on the topic 'Eliza Haywood'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Spedding, Patrick. "Imagining Eliza Haywood." Eighteenth-Century Fiction 29, no. 3 (March 2017): 345–72. http://dx.doi.org/10.3138/ecf.29.3.345.

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2

Powell, Manushag N. "Eliza Haywood, Periodicalist(?)." Journal for Early Modern Cultural Studies 14, no. 4 (2014): 163–86. http://dx.doi.org/10.1353/jem.2014.0037.

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3

Ingrassia, Catherine. "“Queering” Eliza Haywood." Journal for Early Modern Cultural Studies 14, no. 4 (2014): 9–24. http://dx.doi.org/10.1353/jem.2014.0047.

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4

Case Croskery, Margaret. "Who's Afraid of Eliza Haywood?" Literature Compass 4, no. 4 (July 2007): 967–80. http://dx.doi.org/10.1111/j.1741-4113.2007.00455.x.

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5

Muse, S. V. "Eliza Haywood and the Jew Bill." Notes and Queries 57, no. 1 (January 28, 2010): 105–8. http://dx.doi.org/10.1093/notesj/gjp258.

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6

Merritt, Juliette. "A Bibliography of Eliza Haywood (review)." Eighteenth Century Fiction 18, no. 4 (2006): 545–47. http://dx.doi.org/10.1353/ecf.2006.0061.

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7

Powell, Manushag N. "Introduction: Special Issue on Eliza Haywood." Restoration: Studies in English Literary Culture, 1660-1700 44, no. 1 (2020): 3–8. http://dx.doi.org/10.1353/rst.2020.0003.

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8

Castro Santana, Anaclara. "Introducing Life to “the Young, the Ignorant, and the Idle”: Eliza Haywood and Daniel Defoe as Popular Novelists." Anuario de Letras Modernas 23, no. 1 (October 26, 2020): 48–69. http://dx.doi.org/10.22201/ffyl.01860526p.2020.23.1068.

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The remarkable commercial success of the novels of Daniel Defoe and Eliza Haywood in the first few decades of the eighteenth century testifies to a series of cultural phenomena that merit close critical attention. For instance, setting the overwhelming popularity of both writers during their lifetimes in contrast with the scant—though steadily growing—critical recognition accorded to Haywood in our time provides a succinct and vivid illustration of the vagaries of the literary canon. As can be guessed, the snakes and ladders in Defoe and Haywood’s game of fame had mostly to do with their gender, as well as with the genre of their most celebrated productions. Ironically, however, for good or evil, their contemporaries tended to put both writers together in the same basket. While professional critics belittled their talents in public—and perhaps envied them in private—the reading public seemed to have an insatiable appetite for their fictions. In short, Haywood and Defoe were fully-fledged popular novelists, with all the positive and negative connotations attached to this label. A key to gauging their place in the history of the novel lies, then, in the type of readers for whom they vied. This article reviews some of the correspondences between Haywood and Defoe—emphasizing their equality in terms of cultural relevance in their own time—with a view to complicate conventional assessments of Defoe as a star novelist and Haywood as a minor writer of amatory fiction, and to encourage reflection about literary practices then and now.
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9

Blouch, Christine. "Eliza Haywood and the Romance of Obscurity." Studies in English Literature, 1500-1900 31, no. 3 (1991): 535. http://dx.doi.org/10.2307/450861.

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10

King, K. R. "Eliza Haywood, Savage Love, and Biographical Uncertainty." Review of English Studies 59, no. 242 (October 25, 2007): 722–39. http://dx.doi.org/10.1093/res/hgm110.

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11

Prescott, S. "Review: The Passionate Fictions of Eliza Haywood." Review of English Studies 53, no. 209 (February 1, 2002): 140–41. http://dx.doi.org/10.1093/res/53.209.140.

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12

Backscheider, Paula R. "The Shadow of an Author: Eliza Haywood." Eighteenth-Century Fiction 11, no. 1 (1998): 79–102. http://dx.doi.org/10.1353/ecf.1998.0045.

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13

New, Melvyn. "The Invisible Spy ed. by Eliza Haywood." Scriblerian and the Kit-Cats 49, no. 1 (2016): 155–58. http://dx.doi.org/10.1353/scb.2016.0024.

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14

Madeline, Rowe. "Eliza Haywood, The Injur'd Husband and Lasselia." Women's Writing 7, no. 3 (October 1, 2000): 497–510. http://dx.doi.org/10.1080/09699080000200393.

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15

Thompson, Helen. "“Fantomina” and Other Works by Eliza Haywood, and: Beyond Spectacle: Eliza Haywood’s Female Spectators by Juliette Merritt." Scriblerian and the Kit-Cats 38, no. 1 (2005): 143–45. http://dx.doi.org/10.1353/scb.2005.0007.

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16

Sabor, Peter. "Selected Works of Eliza Haywood (review)." Eighteenth-Century Fiction 15, no. 1 (2002): 154–57. http://dx.doi.org/10.1353/ecf.2002.0046.

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17

Oakleaf, David. "A Bibliography of Eliza Haywood by Patrick Spedding." Scriblerian and the Kit-Cats 39, no. 1 (2006): 61–62. http://dx.doi.org/10.1353/scb.2006.0047.

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18

Rigilano, Matthew J. "The Fortunate Foundlings by Eliza Haywood, ed. Carol Stewart." Eighteenth-Century Fiction 33, no. 1 (September 1, 2020): 168–71. http://dx.doi.org/10.3138/ecf.33.1.168.

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19

Myers, Mitzi, Mary Anne Schofield, Peggy Kamuf, Katharine M. Rogers, Ruth Perry, and Watson Brownley. "Quiet Rebellion: The Fictional Heroines of Eliza Fowler Haywood." Eighteenth-Century Studies 19, no. 1 (1985): 107. http://dx.doi.org/10.2307/2739139.

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20

Lockwood, T. "KATHRYN R. KING. A Political Biography of Eliza Haywood." Review of English Studies 64, no. 265 (December 3, 2012): 535–36. http://dx.doi.org/10.1093/res/hgs121.

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21

Wolf, Amy. "The Rash Resolve and Life’s Progress by Eliza Haywood." Scriblerian and the Kit-Cats 49, no. 1 (2016): 158–59. http://dx.doi.org/10.1353/scb.2016.0025.

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22

Carnell, Rachel. "Eliza Haywood and the Narratological Tropes of Secret History." Journal for Early Modern Cultural Studies 14, no. 4 (2014): 101–21. http://dx.doi.org/10.1353/jem.2014.0043.

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23

Stewart, Carol. "Foundlings and Fictional Form: Eliza Haywood mothers Tom Jones." Women's Writing 28, no. 3 (January 8, 2021): 384–98. http://dx.doi.org/10.1080/09699082.2020.1859754.

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24

Lutsenko, Lyudmyla, Maryna Maloivan, Anna Tomilina, and Olha Semenova. "ELIZA HAYWOOD’S CODE OF INTIMIZATION IN THE NOVEL THE HISTORY OF BETSY THOUGHTLESS." Humanities & Social Sciences Reviews 8, no. 1 (February 22, 2020): 733–39. http://dx.doi.org/10.18510/hssr.2020.8188.

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Purpose of the study: The aim of this article is to study the code of intimization used by Eliza Haywood to construct her close interpersonal relationships with the reader in the novel The History of Miss Betsy Thoughtless. Methodology: The research involves a set of methods, in particular, a review of basic research papers that investigate Eliza Haywood’s literary heritage; an analytical method used for describing existing theoretical approaches to such notions as code and intimization in literary theory and rhetorical analysis with the aim of identifying linguistic units with intimizing qualities which allow for the transmission of Haywood’s message aimed at shortening the distance between her and the reader. Main Findings: The authors of the article have explored basic linguistic constituents of Eliza Haywood’s code of intimization in the novel The History of Miss Betsy Thoughtless. They include the author’s digressions, spatial, temporal and personal deixis, imperatives and a rhetorical question. Applications of this study: This research can be used as a useful source for universities and students studying English Literature, in particular, the18th century English novel and prose of Augustan women writers. Novelty / Originality of this study: This article offers a new literary term – “a code of intimization” – which refers to a system of linguistic units used by the author to create a space shared with the reader as well as build the author-reader relationship grounded on trust and disclosure.
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25

Smyth, Orla. "Eliza Haywood and the Languages of the Eighteenth-Century Novel." XVII-XVIII, HS3 (October 1, 2013): 73–90. http://dx.doi.org/10.4000/1718.676.

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26

Kukkonen, Karin. "Flouting figures: Uncooperative narration in the fiction of Eliza Haywood." Language and Literature: International Journal of Stylistics 22, no. 3 (August 2013): 205–18. http://dx.doi.org/10.1177/0963947013489238.

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Eliza Haywood’s narrators often display what could be termed ‘uncooperative narration’ in that they defy the smooth course that fictional narration is supposed to take, and claim to be unable to narrate strongly emotional states (in Love in Excess, 2000; first published 1719) or precipitate readers’ reactions to future events (in The History of Miss Betsy Thoughtless, 1998; first published 1751). Haywood’s strategies of uncooperative narration are based on rhetorical figures which flout the cooperative principle underlying human communication according to Grice: the denial of narration, adynaton, flouts the maxim of quantity; the time-based playing with readers’ meaning-making, prolepsis, flouts the maxim of manner. This article will develop an account of uncooperative narration on the basis of Gricean pragmatics (Grice, 1989) and Tomasello’s work on communication and cooperation in human evolution (Tomasello, 2008), which extends the traditional narratological focus on unreliable narration. Uncooperative narration challenges readers to find the communicative purpose behind flouting figures like adynaton and prolepsis, contributes to the characterisation of the narrator and, in Eliza Haywood’s fiction, often holds up a mirror to readers themselves.
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27

Wolf, A. "The Female Spectator and the New Story of Eliza Haywood." Eighteenth-Century Life 33, no. 1 (January 1, 2009): 74–82. http://dx.doi.org/10.1215/00982601-2008-029.

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28

Wolf, Amy. "A Political Biography of Eliza Haywood by Kathryn R. King." Scriblerian and the Kit-Cats 48, no. 1 (2015): 80–82. http://dx.doi.org/10.1353/scb.2015.0044.

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29

Orr, Leah. "The Basis for Attribution in the Canon of Eliza Haywood." Library 12, no. 4 (December 1, 2011): 335–75. http://dx.doi.org/10.1093/library/12.4.335.

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30

Aparicio Alfaro, Nora. "Eliza HAYWOOD, «Anti-Pamela; o, el descubrimiento de la falsa pureza»." Hermēneus. Revista de traducción e interpretación, no. 22 (February 5, 2021): 547–58. http://dx.doi.org/10.24197/her.22.2020.547-558.

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El pasaje que traduciremos a continuación pertenece a la obra publicada en 1741, Anti-Pamela; or, Feign’d Innocence Detected, por la novelista inglesa Eliza Haywood (1693-1756) una de las personalidades literarias más atractivas del s. xviii. No se sabe con exactitud la fecha o el lugar de nacimiento de Haywood, aunque muchos la sitúan en 1693. Inició su carrera en Dublín, en un principio como actriz; sin embargo, más tarde, en 1719, comenzó a centrarse en la escritura con la publicación de su primera novela, Love in Excess (1719). A pesar del desconocimiento de su obra en nuestro país, pues tan solo se ha realizado una traducción al gallego de una de sus publicaciones en 2010, titulada A dama solitaria & fantomina (traducida por María Fe González Fernández), Haywood logró consagrarse como una de las novelistas más conocidas de su época en el panorama de la literatura inglesa de su tiempo.[1] Por lo que respecta a su obra Anti-Pamela, la pretensión inicial de la autora al publicarla fue la de realizar una crítica jocosa de la novela epistolar más importante de la época, Pamela; or, Virtue Rewarded, publicada en 1740 por su coetáneo Samuel Richardson. La novela de Richardson gira en torno a Pamela, una humilde criada que rechaza las constantes e indecentes propuestas de su amo, el señor B, con el objetivo de proteger su virtud. Este comportamiento se ve más tarde recompensado a través de una propuesta de matrimonio por parte del señor B. Haywood realiza una crítica de los valores propuestos en esta novela, así como del personaje principal y las intenciones ocultas que se encuentran tras sus actos a través de la creación del personaje de Syrena, una joven criada cuyo juicio queda nublado por su ambición y codicia desmesuradas, dispuesta a hacer lo que sea para conseguir ascender en el escalafón social y llevar una vida acomodada y sin preocupaciones. El extracto expuesto a continuación corresponde a la tercera carta que Syrena escribe a su madre, cómplice de sus fechorías y engaños, en la cual la protagonista expone el cruel engaño al que el señor L, un joven adinerado heredero de la fortuna de la familia para la que Syrena trabaja, se ha visto sometido. Este fragmento constituye una de las partes más importantes de la novela, pues realiza un retrato perfecto del comportamiento y la ambición sin límites tanto del personaje principal como de la madre de esta. [1] Para mayor información, véase: Lorenzo Modia (1998), Ingrassia (2004: pp. 7-43), King (2015: en línea) o Enclyclopaedia Britannica (2019: en línea).
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31

LOCKWOOD, THOMAS. "ELIZA HAYWOOD IN 1749: DALINDA, AND HER PAMPHLET ON THE PRETENDER." Notes and Queries 36, no. 4 (December 1, 1989): 475–77. http://dx.doi.org/10.1093/nq/36-4-475.

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32

LOCKWOOD, T. "ELIZA HAYWOOD IN 1749: DALINDA, AND HER PAMPHLET ON THE PRETENDER." Notes and Queries 36, no. 4 (December 1, 1989): 475–77. http://dx.doi.org/10.1093/nq/36.4.475.

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33

Loar, Christopher F. "The Exceptional Eliza Haywood: Women and Extralegality in Eovaai." Eighteenth-Century Studies 45, no. 4 (2012): 565–84. http://dx.doi.org/10.1353/ecs.2012.0062.

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34

Starr, G. Gabrielle. "Rereading Prose Fiction: Lyric Convention in Aphra Behn and Eliza Haywood." Eighteenth-Century Fiction 12, no. 1 (1999): 1–18. http://dx.doi.org/10.1353/ecf.1999.0013.

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35

Nestor, Deborah J. "Representing domestic difficulties: Eliza Haywood and the critique of bourgeois ideology." Prose Studies 16, no. 2 (August 1993): 1–26. http://dx.doi.org/10.1080/01440359308586494.

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36

Marques, Mariana Teixeira. "O savoir-faire das personagens libertinas." Discurso 45, no. 1 (August 19, 2015): 119–32. http://dx.doi.org/10.11606/issn.2318-8863.discurso.2015.102543.

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O objetivo deste ensaio é identificar, através da figura de Madame de La Pommeraye, em Jacques, o fatalista, de Denis Diderot, e das protagonistas de Love in Excess, de Eliza Haywood, os conceitos a respeito da ética e do corpo femininos que se revelam nessas histórias e observar em que medida tais personagens se tornam configurações destes conceitos.
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37

Kraft, Elizabeth. "Love in Excess; or The Fatal Inquiry by Eliza Haywood, and: The Injur’d Husband and Lasselia by Eliza Haywood, and: The Adventures of Rivella by Delarivier Manley." Scriblerian and the Kit-Cats 36, no. 1 (2003): 74–75. http://dx.doi.org/10.1353/scb.2003.0034.

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38

Webster, Jeremy W., Kirsten T. Saxton, and Rebecca P. Bocchicchio. "The Passionate Fictions of Eliza Haywood: Essays on Her Life and Work." Journal of the Midwest Modern Language Association 34, no. 2 (2001): 126. http://dx.doi.org/10.2307/1315146.

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39

King, K. R. "Eliza Haywood at the Sign of Fame in Covent Garden (1742-1744)." Notes and Queries 57, no. 1 (January 7, 2010): 83–86. http://dx.doi.org/10.1093/notesj/gjp251.

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40

Bannet, Eve Tavor. "The Narrator as Invisible Spy: Eliza Haywood, Secret History and the Novel." Journal for Early Modern Cultural Studies 14, no. 4 (2014): 143–62. http://dx.doi.org/10.1353/jem.2014.0046.

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41

Creel, Sarah. "(Re)framing Eliza Haywood: Portraiture, Printer’s Ornaments, and the Fashioning of Female Authorship." Journal for Early Modern Cultural Studies 14, no. 4 (2014): 25–48. http://dx.doi.org/10.1353/jem.2014.0038.

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42

Wolf, Amy. "The Masqueraders, or Fatal Curiosity, and: The Surprize, or Constancy Rewarded by Eliza Haywood." Scriblerian and the Kit-Cats 50, no. 1 (2017): 70–71. http://dx.doi.org/10.1353/scb.2017.0106.

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43

Hiner, Amanda, and Patsy S. Fowler. "A Special Issue on New Approaches to Eliza Haywood: The Political Biography and Beyond." Journal for Early Modern Cultural Studies 14, no. 4 (2014): 1–8. http://dx.doi.org/10.1353/jem.2014.0045.

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44

Villanueva-Noriega, Gabriela. "Archipiélagos de la novela inglesa: los islotes de Eliza Haywood y Daniel Defoe en el surgimiento de un género moderno." Anuario de Letras Modernas 23, no. 1 (October 26, 2020): 10–20. http://dx.doi.org/10.22201/ffyl.01860526p.2020.23.1094.

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El artículo hace una introducción comparativa a la obra del escritor inglés Daniel Defoe y de la novelista Eliza Haywood, de la misma nacionalidad, a la vez que examina el papel que ambos autores desempeñaron en el desarrollo de la novela inglesa a lo largo del siglo XVIII y las tradiciones que se desprenden de ésta. Para establecer el punto de contacto entre estas dos formas de narrar, el artículo se centra en la relación entre cuerpo, control y escritura y las formas disímiles en que ambos autores representan la experiencia del cuerpo a través de la narrativa.
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45

Pettit, Alexander. "Terrible Texts, "Marginal" Works, and the Mandate of the Moment: The Case of Eliza Haywood." Tulsa Studies in Women's Literature 22, no. 2 (October 1, 2003): 293. http://dx.doi.org/10.2307/20059154.

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46

Merritt, Juliette. "The Passionate Fictions of Eliza Haywood: Essays on Her Life and Work (review)." Eighteenth-Century Fiction 14, no. 1 (2001): 121–24. http://dx.doi.org/10.1353/ecf.2001.0019.

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47

BAYSAL, Kübra. "Eliza Haywood’un “Love in Excess or, The Fatal Enquiry” ve Elizabeth Inchbald’un “A Simple Story” Romanlarında Kadın Gücünün İmkân(sızlığ)ı." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 58, no. 1 (October 5, 2018): 973. http://dx.doi.org/10.33171/dtcfjournal.2018.58.1.45.

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Eliza Haywood ve Elizabeth Inchbald’un onsekizinci yüzyıl İngiltere’si ataerkil zemininde erkek karakterler aracılığıyla çeşitli kadın karakterler tanıtan Love in Excess or, The Fatal Enquiry (1719) ve A Simple Story (1791) romanları, kadın sesinin geçerliliğine karşılık kadınlara uygulanan baskı ve bu iki tutum arasında kadınların kurallara biat etmesi konularını tartışmaktadır. Love in Excess, erkek karakter D’Elmont aracılığıyla, onun Alovysa ve Amena gibi çeşitli kadın karakterlerle olan aşk ilişkileri sonucunda değişimini yansıtarak, erkeklerle olan ilişkilerine göre tanımlanan kadınlarla ilgili onsekizinci yüzyıl sosyal, kültürel ve ekonomik gerçekliklerini betimler. Aynı şekilde, A Simple Story, Millner ile kızı Matilda’nın birbirinden farklı hikayesini aktarır. Millner, meydan okuyan ve cesaretli bir kadınken, Matilda babası Dorriforth’un yönettiği itaat ve sessizlik dolu bir hayat içerisinde kaybolmuştur. Yine de, bu romanlarda kadın karakterler bütünüyle itaatkar veya baskı altında resmedilmemiştir, çünkü bazıları halen fikirlerini ifade edebilecek kadınsal bir güce sahiptir ve hareketleri erkeklerde değişimi başlatır. Bu durum ise, kadınların kurallara boyun eğmediğinin kanıtıdır. Öte yandan, kuralları ihlal eden diğer kadın karakterler ölüm veya mutsuzlukla cezalandırılır, ki bu da Haywood ve Inchbald’un romanlarında, büyük olasılıkla güvenli bir zemin olarak kurallara boyun eğme yolunu seçmiş olabileceğini ifade eder. Bu çalışmanın amacı, onsekizinci yüzyıl İngiltere’sinin sosyal ve kültürel zeminini temsil eden Love in Excess ve A Simple Story romanlarında, Amena ve Matilda karakterlerinin sessizliği ve pasifliğine ve Melliora’nın kurallara uygun hareket etmesine karşılık Alovysa, Ciamara, Violetta ve Millner karakterlerinde resmedildiği gibi, kadınların kuralları ihlal etme yoluyla güç kazanmasının mümkün olup olmadığını tartışmaktır.
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48

Clarke, Norma. "A Bibliography of Eliza Haywood2005299Patrick Spedding. A Bibliography of Eliza Haywood. London: Pickering & Chatto 2004. 848 pp., ISBN: 1 85196 739 7 £120, $175." Reference Reviews 19, no. 6 (September 2005): 26. http://dx.doi.org/10.1108/09504120510613175.

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49

Jane Lim. "“[I]s the Woman Really Possessed?”: Marriage Act, Property, and Madness in Susanna Centlivre and Eliza Haywood." Journal of Humanities, Seoul National University 76, no. 1 (February 2019): 47–78. http://dx.doi.org/10.17326/jhsnu.76.1.201902.47.

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50

Ballaster, R. "The Economics of Ethical Conversation: The Commerce of the Letter in Eliza Haywood and Lady Mary Wortley Montagu." Eighteenth-Century Life 35, no. 1 (January 1, 2011): 119–32. http://dx.doi.org/10.1215/00982601-2010-031.

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