Life after sex: The fictional autobiography of Delariver Manley

Todd, Janet

doi:10.1080/00497878.1988.9978716

Cited by 9 publications

(2 citation statements)

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“…Other late twentieth‐century scholars were keen to celebrate Manley's achievements as a professional writer and proto‐feminist. This line of criticism emphasized the scenes in her writing that focused on women's oppression by men and on her playfully satirical voice as a playwright and “novelist” (Spencer, The Rise of the Woman Novelist (); Spender, Mothers of the Novel (); Todd, Sign of Angellica ()). In The Prostituted Muse (), Jacqueline Pearson introduced modern readers to Manley's work in the theatre in the 1690s, comparing her plays to those of her contemporary female playwrights Catherine Trotter and Mary Pix—who were satirized alongside Manley in the anonymous play The Female Wits (1704, first produced in 1696).…”

Section: Historical Overview Of Scholarly Trendsmentioning

confidence: 99%

Scholarship on Delarivier Manley: Past, Present, and Future

Carnell

2017

Literature Compass

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This essay offers an overview of scholarship on Delarivier Manley, from her marginalization by twentieth‐century literary historians, to her scholarly recuperation in the 1980s, to the recent critical reappraisal of her as an innovative writer of political secret histories and an important voice in the female theatre world of the 1690s. This recent scholarship corrects the misperception of Manley as a (mediocre) novelist and finally does her justice as an innovator in every genre in which she wrote—including drama, poetry, epistolary travelogue, secret history, periodical, pamphlet, memoir, and novella. An overview of the historical trends in the field is followed by summaries of recent research on her works in various literary genres.

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Section: Historical Overview Of Scholarly Trendsmentioning

confidence: 99%

Scholarship on Delarivier Manley: Past, Present, and Future

Carnell

2017

Literature Compass

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show abstract

“…(Dickenson 2001) Her writing was certainly admired (Gildon 1702, Langbaine 1712) and the peculiar combination of risqué writing and peer admiration made her the queen of her Atalantian genre. (Morgan 1986, Todd 1988, Herman 2003 Other Writers' use of the Brand…”

Section: The Components Of the 'Personal' Brandmentioning

confidence: 99%