JoEllen DeLucia »

JoEllen DeLucia is Professor of English at Central Michigan University and the author of A Feminine Enlightenment: British Women Writers and the Philosophy of Progress, 1759–1820 (EUP, 2015). Recently, she co-edited an essay collection with Juliet Shields entitled Migration and Modernities: the State of Being Stateless, 1750–1850 (EUP, 2019). Portions of her current research project on George Robinson’s media network and Romantic-era literature have appeared in European Romantic Review and Jennie Batchelor and Manushag Powell’s Women’s Magazines and Print Culture 1690–1820s: The Long Eighteenth Century (2018).

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This article is © 2020 The Author and is the result of the independent labour of the scholar credited with authorship. Unless otherwise noted, the material contained in this journal is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 (CC BY-NC-ND) International License.
Date of acceptance: 9 January 2019.

Referring to this Article

J. DELUCIA. ‘ Radcliffe Incorporated: Ann Radcliffe, Mary Ann Radcliffe and the Minerva Author’, Romantic Textualities: Literature and Print Culture, 1780–1840, 23 (Summer 2020)

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Radcliffe Incorporated

Ann Radcliffe, Mary Ann Radcliffe and the Minerva Author

Abstract Abstract

Abstract: This essay examines the false and dubious attributions of select Minerva novels to both Ann Radcliffe and her lesser known contemporary Mary Ann Radcliffe, arguing that the constellations of texts and authors that signified under the Radcliffe aegis point to the existence of a corporate Radcliffe whose influence on Romantic print culture has yet to be fully documented. In sales catalogues and later scholarly studies and encyclopedias, this corporate Radcliffe blended work initially published anonymously by the Minerva Press with the known output of Ann Radcliffe and Mary Ann Radcliffe. These texts include the Minerva novels The Fate of Velina de Guidova (1790), Radzivil, a Romance (1790), Mary Ann Radcliffe’s The Memoirs of Mrs Mary Ann Radcliffe (1810) and The Female Advocate; or an Attempt to Recover the Rights of Women from Male Usurpation (1799), in addition to the gothic novels of Ann Radcliffe. A composite created by the print market-place and later scholars' own compulsion to fix or challenge questionable attributions, this corporate Radcliffe elevates the popular Romantic practices of imitation and translation and provides an alternative to narratives of Romantic authorship that rely on singular genius and originality.


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