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Edited Books by Tiffany Potter

In contemporary pop culture, the pursuits regarded as the most frivolous are typically understood... more In contemporary pop culture, the pursuits regarded as the most frivolous are typically understood to be more feminine in nature than masculine. This collection illustrates how ideas of the popular and the feminine were assumed to be equally naturally intertwined in the eighteenth century, and the ways in which that association facilitates the ongoing trivialization of both.
Top scholars in eighteenth-century studies examine the significance of the parallel devaluations of women's culture and popular culture by looking at theatres and actresses; novels, magazines, and cookbooks; and populist politics, dress, and portraiture. They also assess how eighteenth-century women have been re-imagined in contemporary historical fiction, films, and television, from the works of award-winner Beryl Bainbridge to Darcymania and Pride and Prejudice and Zombies. By reconsidering the cultural and social practices of eighteenth-century women, this fascinating volume reclaims the ostensibly trivial as a substantive cultural contribution.

Critical Editions by Tiffany Potter

Critical edition of Elizabeth Cooper's witty comedy about a libertine woman who loves a man of se... more Critical edition of Elizabeth Cooper's witty comedy about a libertine woman who loves a man of sentiment, but needs him to develop edge (and possibly a spine) to marry him. She also needs to humiliate her female rival and a would-be seducer, just for fun.

Critical edition of Robert Rogers' 1766 play about Pontiac, the Ottawa sachem, and events around ... more Critical edition of Robert Rogers' 1766 play about Pontiac, the Ottawa sachem, and events around the siege of Detroit, presented from the point of view of the North American Indian nations involved

Books by Tiffany Potter

This book argues for the implications of the ways in which English libertinism changed during the... more This book argues for the implications of the ways in which English libertinism changed during the eighteenth century as the violent, hypersexualized Hobbesian libertine, typified by the Earl of Rochester, was tempered by England's cultures of sentiment and sensibility. The good-natured Georgian libertinism that emerged maintained the subversive social, religious, sexual, and philosophical tenets of the old libertinism, but misogynist brutality was replaced by freedom and autonomy for the individual, whether male or female. Libertinism encompasses issues of gender, sexuality, and literary and cultural history and thus provides a useful cultural context for a discussion of a number of critical approaches to Fielding's work, including feminism, queer theory, new historicism, and cultural studies. The traditional view of Fielding as a warm-blooded but essentially prudent moralist is reconsidered here in light of the symbiotic relationship Potter argues existed between Fielding and this mediated libertinism. Fielding developed the discourse in his own terms, beginning with his licentious early plays and continuing with Shamela and Joseph Andrews, in which Fielding first subverts, then reforms, popular social constructs of virtue. Fielding later develops his archetypal Georgian libertine in Tom Jones, and continues his consideration with Amelia, whose virtuous heroine embodies Fielding's balance of masculinity and femininity, his controversial understanding of virtue, and the individualism, privilege, and passion of the libertine discourse in which he so prominently positioned himself.

Television articles by Tiffany Potter

The Wire in the College Classroom: Pedagogical Approaches in the Humanities , 2015

The Wire: Urban Decay and American Television. (Bloomsbury/Continuum 2009)

Muslims in American Popular Culture. 3 vols. Ed. Anne R. Richards and Iraj Omidvar. (Praeger, 2013).

Encyclopedia of Disability, 2006

18th Century Studies Articles by Tiffany Potter

Women, Popular Culture and the Eighteenth Century. U of Toronto P., 2012

Robert Rogers’ Ponteach, or the Savages of America: A Tragedy (1766)., 2010

TransAtlantic Crossings II: Essays in Eighteenth-Century Sexuality & Textuality. Ed. Donald Nichol. St. John’s: Memorial UP., 2006

Early American Literature, 2006

Journal for Eighteenth-century Studies, 2006

Their women are generally beautiful, possessing shape and features agreeable enough, and wanting ... more Their women are generally beautiful, possessing shape and features agreeable enough, and wanting no charm but that of education and a fair complexion [...] The dress of the women is little different from that of the men, except in the tieing of their hair. The women of distinction wear deep necklaces, pendants, and bracelets, made of small cylinders of the conch shell, which they call peak: they likewise keep their skin clean and shining with oil, while the men are commonly bedaubed all over with paint. They are remarkable for having small round breasts, and so firm, that they are hardly ever observed to hang down, even in old women. They commonly go naked as far as the navel downward, and upward to the middle of the thigh, by which means they have the advantage of discovering their fine limbs and complete shape. 1

Eighteenth-Century Studies, 2003

The Wire in the College Classroom: Pedagogical Approaches in the Humanities , 2015

The Wire: Urban Decay and American Television. (Bloomsbury/Continuum 2009)

Muslims in American Popular Culture. 3 vols. Ed. Anne R. Richards and Iraj Omidvar. (Praeger, 2013).

Encyclopedia of Disability, 2006

Women, Popular Culture and the Eighteenth Century. U of Toronto P., 2012

Robert Rogers’ Ponteach, or the Savages of America: A Tragedy (1766)., 2010

TransAtlantic Crossings II: Essays in Eighteenth-Century Sexuality & Textuality. Ed. Donald Nichol. St. John’s: Memorial UP., 2006

Early American Literature, 2006

Journal for Eighteenth-century Studies, 2006

Eighteenth-Century Studies, 2003

ESC: English Studies in Canada, 2007

T     E  T     E  T occurred as a... more T     E  T     E  T occurred as a result of the combination of any number of specifi c social factors, including new developments in scientifi c and religious philosophy, increasing literacy (particularly among women), and the progress of spiritual autobiography and other narrative pilgrims like picaresque and romance. Despite Terry Castle's reported belief that studies of the novel "have reached a kind of intellectual dead end" and that "we don't need further exposition" of the economic, generic, gendered, sexual, colonial, or capitalist aspects of the novel (quoted in Davis ), there may be some things under the sun yet new. Eighteenth-Century Fiction's  double issue "Reconsidering the Rise of the Novel" is only a more recent example of our continuing fascination with not only the what, but the how and the why of the English novel. Many, many theories of the novel have been off ered by Ian Watt, Michael McKeon, J. Paul Hunter and others, but one facet of the genre that has not yet been considered in detail is the surprising but undeniable relationship between the prominent cultural discourse of libertinism and the increasing literary dominance of the novel in eighteenth-century England.  is essay off ers an overview of this relationship, and argues not that the role of libertinism in the novel's evolution in any way supersedes those of other

Restoration and Eighteenth-Century Theatre Research 17.2. , 2002

The Eighteenth- Century Novel 1, 2001

Collected essays on learning and teaching, Mar 28, 2024

Aphra Behn online, Dec 1, 2022

Ponteach, or the Savages of America, 2010

The Scriblerian and the Kit-Cats, 2017

Moral Reform in Comedy and Culture, 1696–1747, 2016

Aparna Gollapudi. Moral Reform in Comedy and Culture, 1696-1747. Series: Performance in the Long ... more Aparna Gollapudi. Moral Reform in Comedy and Culture, 1696-1747. Series: Performance in the Long Eighteenth Century: Studies in Theatre, Music, Dance. Burlington VT and Farnham UK: Ashgate Publishing Company, 201 1. xii + 185pp. index, append, illus. bibl. £55 (hardback). ISBN: 9781409417965.In Moral Reform in Comedy and Culture, 1696-1747, Aparna Gollapudi seeks to challenge the near universal critical sense of the fifth- act reformations of reform comedy as typically awkward and dramatically unconvincing. Instead, Gollapudi argues that reform comedy is not just a generic trend toward superficial moral or sentimental reactionariness, but rather is one manifestation of a "broad spectrum of moral reform discourses that arose in the first half of the eighteenth century and functioned as ideological apparatuses for controlling and channeling the impact of economic, political and social changes in the period" (167) in a way that facilitates "the emergence of middling-class values by anathemizing aristocratic mores" (169). The book provides substantive discussion of nine plays over five chapters (including three by Colley Cibber and two by the nearly- forgotten playwright Charles Johnson). The author considers these works in the context of the function of reform comedy in cultural discourse on "finance capitalism, imperial nationalism, political factionalism, domestic ideology and middling class-consciousness." Gollapudi argues that by moralizing daily experience, reform comedy "provided a cultural technology of managing and melding these changes into the social fabric so that it stretch but not rend [sic]" (4). In providing well-documented historical frameworks that illuminate the larger conversations in which these ostensibly frivolous plays were participating, Gollapudi makes often persuasive arguments for the significance of Cibber, Johnson, Richard Steele, and Benjamin Hoadly as she attempts to establish "how pervasive and culturally relevant the rhetoric of reform was in the first half of the eighteenth-century [sic]" (17).Chapter 1 is a fascinating speculation on Cibber's Love's Last Shift (1696) that imagines how performance might have been able to make Loveless' famous fifth-act reformation convincing and natural rather than "an arbitrary function of Cibber's moral plot" (33). Gollapudi admits that it is "of course, difficult if not impossible to reconstruct faithfully such an evanescent thing as 'what Cibber's audience saw"' (28), especially given that there is no surviving promptbook or other account of the play's performance strategies. Though the chapter is undeniably speculative, it includes an important analysis of the people- watching scene set at St. James' Parka parade of silent characters whose identities can be read by appearance alone- supporting the possibility that some sort of costuming, gesture, or style might have been used to convey the characterization of Loveless. The remainder of the argument here, however, hinges on two lines in 1.1, where Young Worthy fails to recognize a shabby Loveless upon his return from ten years' travels. Gollapudi argues that this is not a standard misrecognition scene, but rather that Loveless' visible disarray communicates his readiness to reform right from the opening scene; she supports that reading with some intriguing speculation about what hats, wigs, clothes, and body postures an actor might have taken on in later scenes to communicate his openness to change, supplemented by reference to Hogarth's famous images of the rake some fifty years later. Gollapudi's reading of Loveless invites a new staging, even if it is not entirely persuasive in the evidence available here.Chapter 2, though, moves into a smartly-argued and substantial discussion of anti-theatrical pamphlet wars around the turn of century, giving nuanced attention to Jeremy Collier's Short View and locating in its specific historical context a text often depicted in broad strokes as mere moralist diatribe. …

Fiona Ritchie analyses the significant role played by women in the construction of Shakespeare&#3... more Fiona Ritchie analyses the significant role played by women in the construction of Shakespeare's reputation which took place in the eighteenth century. The period's perception of Shakespeare as unlearned allowed many women to identify with him and in doing so they seized an opportunity to enter public life by writing about and performing his works. Actresses (such as Hannah Pritchard, Kitty Clive, Susannah Cibber, Dorothy Jordan and Sarah Siddons), female playgoers (including the Shakespeare Ladies Club) and women critics (like Charlotte Lennox, Elizabeth Montagu, Elizabeth Griffith and Elizabeth Inchbald), had a profound effect on Shakespeare's reception. Interdisciplinary in approach and employing a broad range of sources, this book's analysis of criticism, performance and audience response shows that in constructing Shakespeare's significance for themselves and for society, women were instrumental in the establishment of Shakespeare at the forefront of English...

Restoration and Eighteenth-Century Theatre Research, 2002

When Elizabeth Cooper is discussed at all in literary scholarship, it is very often in reference ... more When Elizabeth Cooper is discussed at all in literary scholarship, it is very often in reference to her 1737 poetry anthology The Muses Library1 Less widely recognized is Cooper's contribution to our understanding of gender and its determinative value in mid eighteenth-century England, particularly with reference to the waning cultural vogue of libertinism and the waxing one of sentimentalism. Cooper's 1735 play The Rival Widows, or Fair Libertine not only regenders the libertine dramatic hero (with all of the shocking action, witty thrills, and disruption of prescriptive gender this implies), but does so in a way that appropriates and manipulates the culture of sentiment so influential to the stage at the time. In its clever sense of the exchange between the often symbiotic social roles of performative libertinism and spectatorial sentiment, Rival Widows encompasses two cultural discourses traditionally held to be oppositional. In her fair libertine heroine Lady Bellair, Co...

ABO: Interactive Journal for Women in the Arts, 1640-1830

The Spring 2022 issue of ABO inaugurates our new Pedagogies feature: the Concise Collections on T... more The Spring 2022 issue of ABO inaugurates our new Pedagogies feature: the Concise Collections on Teaching Eighteenth-Century Women series. Each issue of ABO will include a Concise Collection on a different female writer or artist, with three to five articles offering critically-informed and practice-based strategies for teaching in survey or theme-based courses for different student audiences. This series seeks to facilitate the innovative and effective teaching of female creatives whose excellence and insight demand inclusion in our classrooms, but who have not yet received the attention they deserve in pedagogy publications, or who might not yet have been encountered by every teacher of the eighteenth century. The first issue focuses upon teaching the works of Charlotte Lennox.

Approaches to Teaching the Works of Eliza Haywood, 2020

ESC: English Studies in Canada, 1994

Choice Reviews Online, 2000

Page 1. HONEST SINS Georgian Libertinism &amp; the Plays &amp; Novels of TT 7~^° ... more Page 1. HONEST SINS Georgian Libertinism &amp; the Plays &amp; Novels of TT 7~^° 7 1&#x27; riPYir1}) riPiuiYiQ JL J.C&#x27;/l/l V J. l/C/l/Ltt// l-CL -/ O TIFFANY POTTER Page 2. Page 3. Page 4. ONEST SIMS &#x27;eoryan Libertinism &amp; the Plays .\orels ...

The Scriblerian and the Kit-Cats, 2017

Choice Reviews Online, 2013

Eighteenth-Century Fiction, 1999

The typology that links Robert Lovelace with the Restoration rake-derived from the Restoration st... more The typology that links Robert Lovelace with the Restoration rake-derived from the Restoration stage and the life of Rochester-depicts Lovelace as the greatest, most rakish, most demonic embodiment of the libertine model. With the exception of Tom Keymer's excellent analysis of Lovelace's relationship to the intellectual libertinism of his day, little has been done to position Lovelace and his fellow libertines, Jack Belford and Colonel Morden, within the cultural discourses of the era of their creation, some seventy years after the death of Rochester. Though libertinism is often assumed to have declined after the reign of Charles II, or at least with Congreve's The Way of the World, the powerful and passionate libertine tradition continued alive and well into the eighteenth century: so alive and well, in fact, that it evades extinction through evolution, remaining consistent in its core values, but mediated by the culture of sensibility with which it coexisted. By mid-century, Georgian libertinism appears to have emerged as a consistently recognizable cultural commodity, examined and utilized by writers as diverse as