A burlesque of Richardson's "Pamela", which was generally ascribed to Fielding at the time of its appearance and held by most authorities to be by him.--Cf. W.L. Cross' "The history of Henry Fielding", v. 1, p. 23, 303-308: Notes & queries, 12th ser. v. 1, p. 24-26.

This first in-depth study of women’s politeness examines the complex relationship individuals had with the discursive ideals of polite femininity. Contextualising women’s autobiographical writings (journals and letters) with a wide range of eighteenth-century printed didactic material, it analyses the tensions between politeness discourse which aimed to regulate acceptable feminine identities and women’s possibilities to resist this disciplinary regime. Ylivuori focuses on the central role the female body played as both the means through which individuals actively fashioned themselves as polite and feminine, and the supposedly truthful expression of their inner status of polite femininity.

Pamela in Her Exalted Condition follows the heroine of Richardson's hugely popular first novel into married life. In the process, he explores both the experience of women beyond the stage of courtship and provides a fascinating insight into the social and cultural life of the mid eighteenth century. The first ever scholarly edition of the novel, this volume features a critically edited text, general and textual introductions, full annotations and textual apparatus. Appendices describe all the editions published in Richardson's lifetime as well as early nineteenth-century editions. The original illustrations from the popular octavo edition of 1742 and Richardson's index are reproduced. The publication of this novel in the Cambridge edition allows the sequel to Pamela to take its rightful place in the critical study of Richardson's development as a novelist.

"This is an exciting and wholly original book. It is devilishly intelligent, formidable in its deployment of history and theory."—John Richetti, author of Popular Fiction before Richardson

This novel posing as a dissertation on León Fuertes, the fictional president of a made-up Banana Republic is “still fresh, funny, and disturbingly relevant” (Publishers Weekly, starred review). To fulfill his PhD requirement, Camilo Fuertes decides to write about his father León, the martyred president of Tinieblas, a small country in Latin America. As Camilo traces his family’s roots, we follow León along his twisted path through delinquency, learning, lust, and bravery to his historic position of leadership. At once a powerful vision of Latin American history and a brilliant parody of the academic form—complete with endnotes—The Dissertation is the second novel in Koster’s acclaimed Tinieblas trilogy, and an essential postmodern novel in the tradition of Vonnegut, Barth, and Nabokov. “One of the few books of the past 20 years that deserves to be called astonishing. It is a brilliant novel, structurally a marvel and, in all, a demonstration of elan as that quality seldom is experienced in a work of fiction.” —The Des Moines Register “Longtime Panama resident Koster portrays Latin America with a comedian’s sense of timing, a scholar’s sense of history, and a native’s fond despair.” —Publishers Weekly (starred review) “Koster is that rare thing: a writer from the heart, passionate and uncompromising.” —John le Carré

Many of the earliest canonical novels—including Defoe's Moll Flanders and Roxana and Richardson's Pamela and Clarissa—were written by men who assumed the first-person narrative voice of women. What does it mean for a man to write his "autobiography" as if he were a woman? What did early novelists have to gain from it, in a period when woman's realm was devalued and woman's voice rarely heard in public? How does the male author behind the voice reveal himself to readers, and how do our glimpses of him affect our experience of the novel? Does it matter if the woman he has created is believable as a woman? Why does "she" inevitably rail against the perfidy of men? Kahn maintains that the answers to such questions lie in the nature of "narrative transvestism" -her term for the device through which a male author directs the reader's interpretation by temporarily abandoning himself to a culturally defined female voice and sensibility and then reasserting his male voice. In her innovative readings of key eighteenth-century English novels, Kahn draws upon a range of contemporary critical approaches. Lucid and witty, Narrative Transvestism will serve as a model of analysis for readers interested in issues of gender in narrative, including feminist theorists, students and scholars of the eighteenth-century novel, and critics interested in the applications of psychoanalysis to literature.