Frances Sheridan is now remembered, if at all, as the mother of the playwright Richard Brinsley Sheridan. Yet, in her own day, she was a novelist and playwright whose work was admired by her contemporaries, David Garrick, Samuel Johnson. James Boswell, and Samuel Richardson. The appearance of all of this dramatist's long-out-of-print work reveals her to be an authoress worth studying, not only as an important influence on her son, but in her own right.

'Collaboration' is a complex cultural and political phenomenon: the combined practice of two or more artists, simultaneously or across time, or the willing (and therefore publicly reprehensible) collusion implied by the term's specifically historical meaning. These interdisciplinary essays propose collaboration as a strategy for ensuring creativity within a dynamic tradition, and as a means of mutual enrichment both between individuals and between disciplines. Writers from Chaucer to Wilde and Conrad are considered in this context, together with medieval iconography and German Romanticism. Yet collaboration as collusion and coercion are also implicated in diverse political and cultural agendas informed by xenophobic and exclusive, rather than inclusive, ideologies. Their impact spreads beyond the lives and minds of individual artists and individual texts to touch on the relationship between the citizen and the state, whether writers from the 'losing' side, the immigrant in Italy, writers who supported Fascisim, or the Roma in Britain.

Stage Mothers explores the connections between motherhood and the theater both on and off stage throughout the long eighteenth century. Although the realities of eighteenth-century motherhood and representations of maternity have recently been investigated in relation to the novel, social history, and political economy, the idea of motherhood and its connection to the theatre as a professional, material, literary, and cultural site has received little critical attention. The essays in this volume, spanning the period from the Restoration to Regency, address these forgotten maternal narratives, focusing on: the representation of motherhood as the defining female role; the interplay between an actress’s celebrity persona and her chosen roles; the performative balance between the cults of maternity and that of the “passionate” actress; and tensions between sex and maternity and/or maternity and public authority. In examining the overlaps and disconnections between representations and realities of maternity in the long eighteenth century, and by looking at written, received, visual, and performed records of motherhood, Stage Mothers makes an important contribution to debates central to eighteenth-century cultural history.

Eighteenth-century literature displays a fascination with the seduction of a virtuous young heroine, most famously illustrated by Samuel Richardson's Clarissa and repeated in 1790s radical women's novels, in the many memoirs by fictional or real penitent prostitutes, and in street print. Across fiction, ballads, essays and miscellanies, stories were told of women's mistaken belief in their lovers' vows. In this book Katherine Binhammer surveys seduction narratives from the late eighteenth century within the context of the new ideal of marriage-for-love and shows how these tales tell varying stories of women's emotional and sexual lives. Drawing on new historicism, feminism, and narrative theory, Binhammer argues that the seduction narrative allowed writers to explore different fates for the heroine than the domesticity that became the dominant form in later literature. This study will appeal to scholars of eighteenth-century literature, social and cultural history, and women's and gender studies.

This new collection of essays on Richard Brinsley Sheridan brings the most important British playwright of the eighteenth century back to the forefront of literary and cultural studies of the era. While his pyrotechnic life as a romantic hero, playwright, Member of Parliament, and theatre manager has generated a number of recent biographies, it is Sheridan's works--not just plays but also poetry and orations--that endure. These essays reclaim the legacy of the man of letters and partisan bon vivant who burst from obscurity to become a powerful cultural force in Georgian London. This collection covers the many lives of Sheridan, taking into account both his variegated career and the competing accounts of the man, as well as his early verse, which lays the foundation for his success as a playwright. Chapters are devoted to Sheridan's theatre, and provide innovative readings of his most famous dramatic pieces: The Rivals, The Duenna, The School for Scandal, The Critic, and Pizarro. The volume also includes extensive discussion of the dramatic highs of Sheridan's long political career, thus placing the playwright-politician firmly in the world in which performance and politics were inextricably entwined. Contributors: Mita Choudhury, Jack E. DeRochi, Marianna D'Ezio, Daniel J. Ennis, Emily Friedman, Steven Gores, David Haley, Robert W. Jones, Daniel O'Quinn, Glynis Ridley, John Vance, David Francis Taylor