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Untitled - Sexey's School Moodle

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historical value was intensively scrutinized for it was considered potentially to have<br />

pernicious effects on its reading public and society at large:<br />

Taking up already-established arguments against romance reading<br />

that existed for over a century, reviewers began to single out<br />

historical romances as particularly mischievous because of their<br />

combination of supernaturalism and historicity, condemning them<br />

as threatening civil society either by eroding the standards of<br />

truthfulness necessary to maintain it, or by infantilizing its<br />

members and rendering them less enlightened and more susceptible<br />

to tyranny. (Gamer 60)<br />

Gamer draws from an another article on fiction in the Monthly Review (2nd series, 10<br />

(1793), 293) to observe that, according to the reviewer, “a piece of fiction can only claim<br />

success and therefore a legitimate reason for existing, if it can demonstrate extensive and<br />

productive knowledge of human nature” and that “such knowledge resides typically in a<br />

mature, experienced, and, in most cases, masculine mind much like the reviewer’s” (36).<br />

Even though Bataille’s ideas regarding the enslaving properties of productivity and order<br />

as explained in Chapter One would make for an effective counter-argument to the first<br />

observation from the Monthly Review cited by Gamer above, the most striking is that this<br />

type of sexist review was not an isolated case, there was a clearly voiced antagonism<br />

against fiction and especially, Gothic fiction because both its authorship and readership<br />

were believed to be typically female and/or immature. Gamer notes that this “gendering”<br />

of Gothic authors and readers was at times pushed to the extreme by referring to a review<br />

where the anonymous female critic assumed the position of a male reviewer and<br />

compared a male author of Gothic fiction (James Thomson) to “female writers” (36-7).<br />

103<br />

The Gothic is particularly susceptible to the initial attacks made on the novel’s<br />

potential “danger” to uneducated readers because of the emerging genre’s lack of “truth”

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