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As British women writers in the late eighteenth and early nineteenth centuries sought to define how they experienced their era's social and economic upheaval, they helped popularize a new style of bourgeois female sensibility. Building on her earlier work in Romantic Androgyny, Diane Long Hoeveler now examines the Gothic novels of Charlotte Smith, Ann Radcliffe, Jane Austen, Charlotte Dacre Byrne, Mary Shelley, and the Bront&ës to show how these writers helped define femininity for women of the British middle class. Hoeveler argues that a female-created literary ideology, now known as &"victim feminism,&" arose as the Gothic novel helped create a new social role of professional victim for women adjusting to the new bourgeois order. These novels were thinly disguised efforts at propagandizing a new form of conduct for women, teaching that &"professional femininity&"&—a cultivated pose of wise passiveness and controlled emotions&—best prepared them for social survival. She examines how representations of both men and women in these novels moved from the purely psychosexual into social and political representations, and how these writers constructed a series of ideologies that would allow their female characters&—and readers&—fictitious mastery over an oppressive social and political system. Gothic Feminism takes a neo-feminist approach to these women's writings, treating them not as sacred texts but as thesis-driven works that attempted to instruct women in a series of strategic poses. It offers both a new understanding of the genre and a wholly new interpretation of feminism as a literary ideology.

Between 1756 and 1840, philanthropy in the British world grew from the domain of small, associational committees to a vast enterprise of philanthropic and humanitarian societies with global reach. British Philanthropy in the Globalizing World tells the story of this movement, from its inception in small networks of mercantile and religious entrepreneurs to its signal projects and achievements in the abolition of slavery, in evangelical missionary societies, Bible societies, and in the early indigenous rights movement. It traces the lives and networks of hundreds of philanthropists across four generations, showing how their social, religious, economic, intellectual, and cultural worlds intersected to foster philanthropic innovation through organisational models, transnational networks, and the creation of a unique formative culture. It shows how groups such as the Clapham Sect -- including William Wilberforce, Henry Thornton, Hannah More, James Stephen, and others -- emerged in an intergenerational context, and how they sought to effect social and cultural change across multiple spheres. For every headline achievement, there were many failed experiments, inner wrestlings, and long-running intellectual collaborations that left a wide and deep imprint on the cultural and political landscape of the English-speaking world. Drawing on the separate historiographies of metropolitan philanthropy, associational culture, anti-slavery, moral reform, Evangelicalism, colonial missions, and economic thought, the study unites into one analytical frame both the imaginative and organizational realities of philanthropy, offering a dual focus on individual philanthropists -- their inner lives, daily practices, and participation in collaborative communities -- and on mapping the networks that bound philanthropic societies and projects together in metropolitan London and at the far reaches of the British world. In doing so, it offers a very human portrait of these entrepreneurs and evangelicals, as they pursued a philanthropic global vision.

Most of the essays in James Fenimore Cooper: New Historical and Literary Contexts are either directly or indirectly informed by the need to confront Cooper's tales with the indeterminate historical context from which they arose. Others start from the premise that our understanding of Cooper's work can benefit significantly from displacing it from its traditional position in American literary history and by repositioning it in a new literary context. What unites all the essays is a commitment to read Cooper's works as culturally-encoded documents that both reflect and give us access to the complex, equivocal mind that created them. This is not to say that the essays share a common critical or methodological approach; indeed, they were commissioned and selected with the specific intention of applying contending approaches in contemporary literary discourse to the canonical Cooper. While the array of critical approaches represented in the book is by no means exhaustive, interpretive strategies vary from textual, formalistic New Critical readings to old historical, contextual readings, and from new historical, revisionist readings to deconstructive readings. Through their critical diversity these essays will cast a new light on Cooper's work in relation to its historical context, and on the relevance of Cooper's work to both nineteenth-century and modern literary, historical, and ideological debates.