By Katherine Mannheimer
This learn translates eighteenth-century satire’s recognized typographical obsession as a fraught reaction to the Enlightenment’s "ocularcentric" epistemological paradigms, in addition to to a print-cultural second pointed out by means of book-historians as more and more "visual" — a second at which common recognition was once being paid, for the 1st time, to structure, structure, and crowd pleasing ads thoughts. at the one hand, the Augustans have been confident of the facility in their elaborately revealed texts to operate as one of those optical equipment rivaling that of the hot technological know-how, bettering readers’ actual but additionally ethical imaginative and prescient. nonetheless, they feared that a very scrutinizing gaze may perhaps undermine the viewer’s usual college for candor and sympathy, pride and wish. In readings of Pope, speedy, and Montagu, Mannheimer exhibits how this mistrust of the empirical gaze resulted in a reconsideration of the ethics, and such a lot in particular the gender politics, of ocularcentrism. while Montagu effected this reconsideration through at once satirizing either the era’s religion within the visible and its attendant publishing innovations, Pope and rapid pursued their critique through print itself: therefore no matter if through facing-page translations, fictional editors, or disingenuous footnotes, those writers sought to make sure that typography by no means turned both an insignificant device of (or goal for) the objectifying gaze, yet relatively that it remained a dynamic and interactive medium wherein readers may examine either to determine and to work out themselves seeing.
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Additional resources for Print, Visuality, and Gender in Eighteenth-Century Satire: “The Scope in Ev’ry Page” (Routledge Studies in Eighteenth-Century Literature)
Print, Visuality, and Gender in Eighteenth-Century Satire: “The Scope in Ev’ry Page” (Routledge Studies in Eighteenth-Century Literature) by Katherine Mannheimer