This book examines one of the most pervasive and successful dramatic tropes of the Restoration and early eighteenth century: sexual violence. During this sixty-year span, there were over fifty tragic and tragi-comedic productions that showcased rape and/or attempted rape—a remarkable number that was unprecedented in English dramatic history. Rape was not merely depicted more frequently during the Restoration, but it was also placed at the center of more plots, given more pathetic emphasis, and even staged more centrally. Restoration dramatists were the first to revolve routinely entire plots around the rapes of their innocent heroines, to give powerful voices to these heroines post-rape, and to imbue their sexually violent scenes with new and attention-getting staging techniques, such as discovery scenes. As this book argues, sexual violence emerged at this time as a highly flexible dramatic trope that could be used to illustrate terrifying political scenarios, elicit extreme pathos in audiences, and demonstrate the bearing that lost chastity had on social stability. It is precisely the rich, multi-faceted appeal of these productions—politically, sexually, visually, and culturally—that explains the popularity and significance of this dramatic trope on the English stage. This book will be of interest to students and scholars in Restoration, eighteenth-century studies, and theatre and performance studies.

T. Ryan Jackson explores the Apostle Paul's conception of new creation. He proposes that Paul's concept of new creation is an expression of his eschatologically infused soteriology which involves the individual, the community, and the cosmos, and which is inaugurated in the death and resurrection of Christ.

This volume highlights the variety of forms comedy took in England, with reference to developments in Europe, particularly France, during the European Enlightenment. It argues that comedy in this period is characterized by wit, satire, and humor, provoking both laughter and sympathetic tears. Comic expression in the Enlightenment reflects continuities and engagements with the comedy of previous eras; it is also noted for new forms and preoccupations engendered by the cultural, philosophical, and political concerns of the time, including democratizing revolutions, increasing secularization, and growing emphasis on individualism. Discussions emphasize the period's stage comedy and acknowledge comic expression in various forms of print media including the emerging literary form we now know as the novel. Contributions from scholars reflect a wide variety of interests in the field of 18th-century studies, and the inclusion of a generous number of illustrations throughout demonstrates that the period's visual culture was also an important part of the Enlightenment comic landscape. Each chapter takes a different theme as its focus: form, theory, praxis, identities, the body, politics and power, laughter and ethics. These eight different approaches to Enlightenment comedy add up to an extensive, synoptic coverage of the subject.

Carnival time in The Rover is a period when prohibitions are temporarily removed, privileges and rank suspended, and women - from convent girls to courtesans - take the initiative. Featuring multiple plot lines, which deal with the adventures of a group of love-struck Englishmen in Naples, Aphra Behn's play explores issues of love, trickery and deception, forced marriage, male power, fidelity, and the excesses of sexual passion. Hers is a male-dominated society, but one with a clear-sighted portrayal of the female predicament. The play is widely taught on A Level courses as well as on undergraduate literature and women's writing courses. This new edition contains a completely new introduction, and takes into account important criticism from the past decade, as well as a new understanding of the nature of theatre in Behn's time, and the significance of her contribution to English drama.

"The Other Exchange investigates the ways in which English literature represents women, masterless men, and foreigners in the economic and sociocultural foundation of the development of middle-class consciousness in early modern England"--

Margery Kempe. Aemilia Lanyer. Aphra Behn. Lady Mary. Jane Austen. Warned not to write – and certainly not to bite – these women put pen to paper anyway and wrote themselves into history. ‘Smart, funny and highly readable... a tour de force.’ A.L. Kennedy Ever since Sappho first put stylus to papyrus, women who write have been labelled mad, undisciplined and dangerous. Funny and provocative, Eve Bites Back offers an alternative history of English literature. Placing the female contemporaries of Chaucer, Shakespeare and Milton centre stage, Anna Beer builds a vibrant new canon through Restoration wits, scandalous sensation novelists and medieval mystics. Delving into the lives and work of eight pioneers – Julian of Norwich, Margery Kempe, Aemilia Lanyer, Anne Bradstreet, Aphra Behn, Mary Wortley Montagu, Jane Austen and Mary Elizabeth Braddon – Beer uncovers the struggles and triumphs of these gamechangers, ground-breakers and genre-makers.