Untitled - Sexey's School Moodle
Untitled - Sexey's School Moodle
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”