This book tells the story of the bitter feud between the Duchess of Kingston and the actor, Samuel Foote, which resulted in a pair of scandalous trials in London in the revolutionary year of 1776. Set against the backdrop of the American Revolution, the duchess's state trial for bigamy and Foote's criminal trial for attempted sodomy engrossed the attention of Londoners, including George III, Parliament, and the nobility. Sex, Scandal, and Celebrity offers specialists and general readers a meticulously researched and dramatic narrative that relates the fortunes and misfortunes of its protagonists and exposes the social and legal hypocrisies about love, sex, and marriage in the age of George III.

This book tells the story of the bitter feud between the Duchess of Kingston and the actor, Samuel Foote, which resulted in a pair of scandalous trials in London in the revolutionary year of 1776. Set against the backdrop of the American Revolution, the duchess's state trial for bigamy and Foote's criminal trial for attempted sodomy engrossed the attention of Londoners, including George III, Parliament, and the nobility. Sex, Scandal, and Celebrity offers specialists and general readers a meticulously researched and dramatic narrative that relates the fortunes and misfortunes of its protagonists and exposes the social and legal hypocrisies about love, sex, and marriage in the age of George III.

In the late seventeenth and eighteenth centuries, the 'woman writer' emerged as a category of authorship in England. Publishing the Woman Writer in England, 1670-1750 seeks to uncover how exactly this happened and the ways publishers tried to market a new kind of author to the public. Based on a survey of nearly seven hundred works with female authors from this period, this book contends that authorship was constructed, not always by the author, for market appeal, that biography often supported an authorial persona rooted in the genre of the work, and that authorship was a role rather than an identity. Through an emphasis on paratexts, including prefaces, title pages, portraits, and biographical notes, Leah Orr analyses the representation of women writers in this period of intense change to make two related arguments. First, women writers were represented in a variety of ways as publishers sought successful models for a new kind of writer in print. Second, a new approach is needed for studying early women writers and others who occupy gaps in the historical record. This book shows that a study of the material contexts of printed books is one way to work with the evidence that survives. It therefore begins with a very familiar kind of author-centric literary history and deconstructs it to conclude with a reception-centered history that takes a more encompassing view of authorship. In addition to analysis of many little-known and anonymous authors, case studies include Aphra Behn, Catharine Trotter/Cockburn, Laetitia Pilkington, Marie-Catherine d'Aulnoy, and Anne Dacier.

'Fizzes with clever vignettes and juicy tidbits... [a] joyous romp of a book.' Guardian 'A fascinating, rollicking book in search of why, where and how fame strikes. Sit back and enjoy the ride.' Peter Frankopan, author of The Silk Roads '[An] engaging and well-researched book... Jenner brings his material to vivid life' Observer Celebrity, with its neon glow and selfie pout, strikes us as hypermodern. But the famous and infamous have been thrilling, titillating, and outraging us for much longer than we might realise. Whether it was the scandalous Lord Byron, whose poetry sent female fans into an erotic frenzy; or the cheetah-owning, coffin-sleeping, one-legged French actress Sarah Bernhardt, who launched a violent feud with her former best friend; or Edmund Kean, the dazzling Shakespearean actor whose monstrous ego and terrible alcoholism saw him nearly murdered by his own audience - the list of stars whose careers burned bright before the Age of Television is extensive and thrillingly varied. In this ambitious history, that spans the Bronze Age to the coming of Hollywood's Golden Age, Greg Jenner assembles a vibrant cast of over 125 actors, singers, dancers, sportspeople, freaks, demigods, ruffians, and more, in search of celebrity's historical roots. He reveals why celebrity burst into life in the early eighteenth century, how it differs to ancient ideas of fame, the techniques through which it was acquired, how it was maintained, the effect it had on public tastes, and the psychological burden stardom could place on those in the glaring limelight. DEAD FAMOUS is a surprising, funny, and fascinating exploration of both a bygone age and how we came to inhabit our modern, fame obsessed society.

The Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 -- a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms -- not just tragedy and comedy, but the likes of melodrama and pantomime -- as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, the Handbook shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender.

This volume explores potential paths in historical sociolinguistics, with a particular focus on the inter-related areas of methodological innovations, hitherto un- or under-explored textual resources, and theoretical advancements and challenges. The individual chapters cover Dutch, Finnish and different varieties of English and are based on data spanning from the fifteenth century to the present day. Paying tribute to Terttu Nevalainen’s pioneering work, the book highlights the wide range and complexity of the field of historical sociolinguistics and presents achievements and challenges of interdisciplinary collaboration. The book is of interest to a wide readership, ranging from scholars of historical linguistics, sociolinguistics, corpus linguistics and digital humanities to (advanced) graduate and postgraduate students in courses on language variation and change.

This eye-opening history will change the way you read a cookbook or regard a TV chef, making cooking ventures vastly more interesting—and a lot more fun. Every kitchen has at least one well-worn cookbook, but just how did they come to be? Invention of the Modern Cookbook is the first study to examine that question, discussing the roots of these collections in 17th-century England and illuminating the cookbook's role as it has evolved over time. Readers will discover that cookbooks were the product of careful invention by highly skilled chefs and profit-minded publishers who designed them for maximum audience appeal, responding to a changing readership and cultural conditions and utilizing innovative marketing and promotion techniques still practiced today. They will see how cookbooks helped women adjust to the changes of the Enlightenment and Industrial Revolution by educating them on a range of subjects from etiquette to dealing with household servants. And they will learn how the books themselves became "modern," taking on the characteristics we now take for granted.

Periodicals were an essential medium during eighteenth-century Enlightenment. The era’s growing number of newspapers and journals made possible a fast and vast dissemination of ideas and debates. Journals were a particularly important means of transmitting ideas, genres, texts, and pieces of information from country to country, from centre to periphery, and from press to subscribers. These journals became agents of change by mediating the increasingly profound and widespread urge to write and read and to engage in political debate. This volume, edited by Ellen Krefting, Aina Nøding and Mona Ringvej, presents contributions that explore this media revolution from a Northern perspective. The chapters throw new light on the reception of Enlightenment ideas and practices in Denmark–Norway, Sweden–Finland, and beyond. Taken together, they make a strong case for the transnational and revolutionary character of the Enlightenment as a whole.

Charles Macklin (1699?–1797) was one of the most important figures in the eighteenth-century theatre. Born in Ireland, he began acting in London in around 1725 and gave his final performance in 1789 – no other actor can claim to have acted across seven decades of the century, from the reign of George I to the Regency Crisis of 1788. He is credited alongside Garrick with the development of the natural school of acting and gave a famous performance of Shylock that gave George II nightmares. As a dramatist, he wrote one of the great comic pieces of the mid-century (Love à la Mode, 1759), as well as the only play of the century to be twice refused a performance licence (The Man of the World, 1781). He opened an experimental coffeehouse in Covent Garden, he advocated energetically for actors’ rights and copyright reform for dramatists, and he successfully sued theatre rioters. In short, he had an astonishingly varied career. With essays by leading experts on eighteenth-century culture, this volume provides a sustained critical examination of his career, illuminating many aspects of eighteenth-century theatrical culture and of the European Enlightenment, and explores the scholarly benefit – and thrill – of restaging Macklin’s work in the twenty-first century.

Scandal and Reputation at the Court of Catherine de Medici explores Catherine de Medici's 'flying squadron', the legendary ladies-in-waiting of the sixteenth-century French queen mother who were alleged to have been ordered to seduce politically influential men for their mistress's own Machiavellian purposes. Branded a 'cabal of cuckoldry' by a contemporary critic, these women were involved in scandals that have encouraged a perception, which continues in much academic literature, of the late Valois court as debauched and corrupt. Rather than trying to establish the guilt or innocence of the accused, Una McIlvenna here focuses on representations of the scandals in popular culture and print, and on the collective portrayal of the women in the libelous and often pornographic literature that circulated information about the court. She traces the origins of this material to the all-male intellectual elite of the parlementaires: lawyers and magistrates who expressed their disapproval of Catherine's political and religious decisions through misogynist pamphlets and verse that targeted the women of her entourage. Scandal and Reputation at the Court of Catherine de Medici reveals accusations of poisoning and incest to be literary tropes within a tradition of female defamation dating to classical times that encouraged a collective and universalizing notion of women as sexually voracious, duplicitous and, ultimately, dangerous. In its focus on manuscript and early print culture, and on the transition from a world of orality to one dominated by literacy and textuality, this study has relevance for scholars of literary history, particularly those interested in pamphlet and libel culture.