The purpose of this paper is to determine why Mrs. Radcliffe's gothic novels were popular with contemporary readers. Sources include reviews from eighteenth century periodicals, essays of early nineteenth century critics such as William Hazlitt and studies of her work by twentieth century critics. The thesis is organized in four chapters each of which discusses one aspect of her work which particularly pleased her contemporary reviewers and critics: her invention, her attitude toward superstition, her use of poetic justice, and her outlook on nature. These aspects of her work alone did not secure for her the popularity she enjoyed, but, when combined with her ability to create suspense, helped her become one of the most popular writers of her era.

This dissertation explores the impact of gender ideologies held by medieval readerships on the production of books and circulation of texts in late medieval England. The first chapter explores how the professional book trade of late medieval London circulated booklets of Chauceriana which constructed masculinity and femininity in strict adherence to the courtly love literary tradition. In the second chapter, I demonstrate that such a standardized representation of courtly gender could be adapted by a readership removed from the professional book trade, in this case the rural gentry producers of the Findern manuscript, who present a revised vision of femininity and courtliness in their anthology. This revised femininity includes several texts which privilege the female speaking voice. The third chapter goes on to investigate the use of the female voice in one particular genre, the love lyric, and asks if the female lyric speaker can be associated with manuscripts in which women participated as producers or readers. Finally, the fourth chapter turns to masculinity, examining how the commonplace book of an early 16th century grocer, Richard Hill, contains selections from didactic and recreational literature which reinforce the ideals of masculine conduct in the merchant community of late medieval London. The dissertation concludes that manuscript contexts must be taken into account when reading gender in medieval English literature.

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Introduction: Alice in Wonderland is perhaps the most renowned fantasy book for children. Over and above this though, it has relevance for adults. People too often dismiss it as purely escapist reading, a means to escape from the monotony of everyday realism by delving into the realms of fantasy. Many critics propose that it operates on more than one level and I would have to agree - it is a pioneer of children's literature as well as a product and critique of the Victorian age. It is a story that has captured the world's imagination, with vivid characters and exciting adventures. The sequel, Through the Looking-Glass, although not as well known, equally offers an insight into the late nineteenth-century. I intend to explore the many layers found in these stories, and hope to expose them as being more than mere narratives, but as pieces of literature that thrive because they are so cleverly constructed Perhaps also their success lies in that they deal with the universal theme (for children and adults alike) of making sense of the seemingly nonsensical aspects of life and society. The stories, as well as the strange characters and happenings, are reminiscent of the Absurdist genre in drama, in which the objective is to turn the world upside down, so to speak, in order to understand people and society. My dissertation will begin by exploring the literary trends of children's books prior to 1865, in other words, before Alice in Wonderland was published. I intend to present an overview of Victorian and pre-Victorian children's fiction, tracing the development of the story for teaching and religious instruction, up until the time when the story was liberated to be simply the vehicle for pleasurable recreational purposes. Thus my opening chapter is an exploration of the didactic children's literature that dominated the early nineteenth century, examining the educationalists that helped expand the genre of children's literature. Next, I will include a brief biography of Lewis Carroll. It is important to my overall theme in that a biography sums up, in one human centre, the forces at play in Victorian sensibility. As a modern audience, we seem to seize upon the idea of his 'character', desperately attempting to understand what motivated him to write such tour de force stories. The interest for me at this point is to examine how academics have portrayed Carroll's 'character'. The motive behind this section is to beg the question of whether his complex personality affects our reading of the texts, or whether they can be seen as entirely separate from a life to which some scandal has been attributed. In the remainder of my dissertation, I shall focus on how the texts are a reflection of a typical Victorian child's experiences, and discuss how Alice 'grows' as a character, and what she reveals about her society in the process of discovering how she should define herself. Alice is the vehicle for Carroll's subversive commentary about his society, and her experiences in Wonderland and Looking-Glass land are often rooted in the undermining of conventional behaviour and traditions. Lastly, I will examine Carroll's stylistic organization of the narratives, paying particular attention to his treatment of time, dreams and language in the texts. I will discuss what his intentions are in creating 'nonsense that makes sense', as well as what this 'nonsense' discloses about the society he lived in and the values he seems to object to. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.

This study advances and adds detail to our history of the reading of verse in England c.1350-1500. Scholarship has established major twelfth- and thirteenth-century changes in reading, and linked these changes to manuscripts containing the modern Middle English verse canon. Historians of early modern reading have also argued for distinctive changes in their own period. But the examination of reading between these two clusters of change has been limited. This study therefore asks how later medieval Middle English verse was read. The surviving copies of The Prick of Conscience and Speculum Vitae, two hugely successful religious instructional poems, form the primary body of evidence. This body is augmented by reference to hundreds of other manuscripts containing Middle English verse. Together, these can reveal much about what was normal and abnormal in reading. They are also an important part of the context for the reading of more canonical Middle English verse. Manuscript studies often proceeds through case studies of individual books and unusual evidence such as marginalia. This thesis turns to codicology to understand more widespread evidence for reading, combining qualitative case studies with quantitative techniques borrowed and developed from continental scholarship. The first chapter examines evidence of provenance, revealing that both The Prick of Conscience and Speculum Vitae were read by an impressive range of people and remained current into the sixteenth century. The second chapter considers the navigational aids used in copies of both poems. Reading in this period has been characterised as 'discontinuous', but it could be discontinuous in diverse ways, and readers also read continuously. The third chapter is a large-scale study of books' size and shape, showing how these features can reveal books' reading histories, sometimes in counterintuitive ways. The fourth chapter contends that readers in this period attended closely to rhyme and probably read for balanced rhyme structures. The fifth chapter uncovers the ways in which these poems were rewritten for new readers and investigates the composition of the Southern Recension of The Prick of Conscience, arguing that this new text was partly a formalist intervention. The conclusion summarises the new 'baseline' history of the reading of Middle English verse which is offered here, and gestures towards implications for our reading of the Middle English poems which are canonical today.

Following recent critical work on writers' representations of sociability in Romantic literature, this thesis examines in detail the textual strategies (such as allusion, acts of address, and the use of 'coterie' symbols or references) which writers used to seek to establish a friendly or sympathetic relationship with a particular reader or readers, or to create and define a sense of community identity between readers. The thesis focuses on specific relationships between pairs and groups of writers (who form one another's first readers), and examines 'sociable' genres like letters, manuscript albums, occasional poetry, and periodical essays in a diverse series of author case-studies (Anna Barbauld, Samuel Taylor Coleridge, Charles Lamb, John Keats and Leigh Hunt). Such genres, the thesis argues, show how manuscript and print culture could frequently overlap and intersect, meaning that writers confronted the demands of two co-existing audiences - one private and familiar, the other public and unknown - in the same work. Rather than arguing that writers used manuscript culture practices and produced 'coterie' works purely to avoid confronting their anxieties about publishing in the commercial sphere of print culture, the thesis suggests that in producing such 'coterie' works writers engaged with and reflected contemporary philosophical and political concerns about the relationship between the individual and wider communities. In these works, writers engaged with the legacy of eighteenth-century philosophical ideas about the role (and limitations) of the sympathetic imagination in maintaining social communities, and with interpretative theories about the best kind of reader. Furthermore, the thesis argues that reading literary texts in the specific, material context in which they are 'published' to particular readers, either in print, manuscript, or letters, is vital to understanding writer/reader relationships in the Romantic period. This approach reveals how within each publication space, individual texts could be placed (either by their writers, by editors, or by other readers) in meaningful relationships with other texts, absorbing or appropriating them into new interpretative contexts.