@article{morillo_2022, title={Jane Austen: Writing, Society, Politics}, volume={34}, ISSN={["1911-0243"]}, DOI={10.3138/ecf.34.4.504}, abstractNote={Find information about UTP Journals. University of Toronto Press is Canada’s leading academic publisher and one of the largest university presses in North America, with particular strengths in the social sciences, humanities, and business. The Book Publishing Division is widely recognized in Canada for its strength in history, political science, sociology, Indigenous studies, and cultural studies. Internationally, UTP is a leading publisher of medieval, Renaissance, Italian, Iberian, Slavic, and urban studies, as well as studies in book and print culture.}, number={4}, journal={EIGHTEENTH-CENTURY FICTION}, author={Morillo, John}, year={2022}, month={Jun}, pages={504–506} }
 @misc{morillo_2012, title={Satire and secrecy in English literature from 1650 to 1750}, volume={44}, DOI={10.1353/scb.2011.0053}, abstractNote={a commonplace by now that verbal representations can never render visual impressions exhaustively, for the simple reason of differences between these media. Second, pictures themselves are far from being complete. Sketches are an obvious case in point, but gaps can also be found in realistic pictures, such as Hogarth’s drawings, where they function as blanks that, according to Wolfgang Iser, incite a reader’s active, imaginative involvement in meaningmaking. If the illustrations of Sterne’s work can be related to shifting cultural attitudes toward the author and his work, the same holds true for verbal pictorialism, which is also subject to shifts in visual aesthetics. This also offers a simple explanation for the different pictorialisms in Fielding’s and Sterne’s work. Falling into a period when incompleteness was increasingly cherished as an aesthetic and epistemological quality, the intentionally fragmented constructions of Tristram Shandy and A Sentimental Journey participate on more than one level in the aesthetic appeal of the fragment and the sketch. One can argue that what Mr. Gerard laboriously unearths as a particular form of verbal pictorialism is an obvious consequence of a fragmentary aesthetics on the level of character presentation. For readers who aesthetically cherish and have become accustomed to sketches and fragments, even an incomplete verbal description suffices to imagine a full picture. In fact, the second half of the eighteenth century saw a shift in the evaluation of the relationship of the verbal and visual arts. In essays on the ‘‘Pleasures of the Imagination,’’ Addison had celebrated a verbal pictorialism that tried to emulate verbally the mimetic function of the supposedly transparent visual sign. Burke, on the other hand, denied in his Ideas on the Sublime and the Beautiful ‘‘that the effect of words arises out of their giving our imaginations pictures of the objects they would represent.’’ Instead of the descriptive function of words he emphasized their emotional function. The verbal artist can therefore rely on the associations evoked by deliberately vague verbal descriptions in order to appeal to readers’ emotions. These insights have already been voiced at length in Murray Krieger’s Ekphrasis (1992)—a seminal study that is surprisingly as absent from Mr. Gerard’s book as is any extensive discussion of ekphrasis. Mr. Gerard devotes one single paragraph to this term, ending up with his own idiosyncratic definition, which denigrates ekphrasis to a close reading practice of pictures as it were. Mr. Gerard deserves praise for assembling and systematically analyzing the illustrations of Sterne’s novels. The instructive catalogue of illustrations of Sterne’s works from 1760 to 2005 is a highly welcome reference source. Mr. Gerard’s highly readable book is recommended for anyone looking for a deeper understanding of Sterne’s works and the representation of sentimentalism. To someone who is interested in word-and-image relations and who is familiar with the theoretical state of the art in that field, however, it may sometimes seem as if the Visual Imagination is reinventing the wheel. Anja Müller University of Siegen}, number={1}, journal={Scriblerian and the Kit-Cats}, author={Morillo, J.}, year={2012}, pages={56–58} }
 @article{morillo_2011, title={Money, Power, and Print: Interdisciplinary Studies on the Financial Revolution in the British Isles}, volume={43}, ISSN={["0036-9640"]}, DOI={10.1353/scb.2011.0143}, abstractNote={259 to be wrought by eighteenth-century events, such as the Hanoverian succession and fall in 1714 of the Tory party, and its deployment, in subsequent years, of ‘‘Country’’ rhetoric, emphatically opposed to the ‘‘Court’’ rhetoric of Walpolean Whigs. While the book argues that deep historical processes such as the rise of print culture transformed authority in London, it keeps these separate from, or at least does not also consider , the political and other cultural shifts that arguably keep the very meanings of Court and City, Whig and Tory, dynamically open to redefinition. Still, the book’s readings offer insights into the way important texts engage urban experience, and its principal contention, that writers sought to assert their authority over how London could and should be imagined, is incontestable. James Noggle Wellesley College Money, Power, and Print: Interdisciplinary Studies on the Financial Revolution in the British Isles, ed. Charles Ivar McGrath and Chris Fauske. Newark: Delaware, 2008. Pp. 242. $56. Interdisciplinary in scope and intent, this collection of historical, literary, and economic interests well would have benefited from integrating disciplinary vantages into a more topically and theoretically unified understanding of Augustan print culture’s role in developing British ideas and attitudes about finance. Local and particular data dominate over more speculative attempts to synthesize larger ideas concerning the dissemination of opinions about money and credit ; the whole endeavor is too risk averse. The essays individually offer solid scholarship, and a welcome focus on Irish financial history, but also often lack the rhetorical spark and broader appeal to speak as well across fields as within them. The Introduction praises pioneers in the field, but then summarizes essays without really explaining how the collection coheres as a statement about the prominent place print culture deserves in future studies of the early British economy. Literary essays are in the minority. There are spirited readings of Swift, and a nicely detailed assessment of Defoe. Overall, however, humanists may be confirmed in their belief that the dismal science of economics can make for dull reading. Data and facts, and records of parliaments abound. The book, thus, offers more to those interested in ledgers of money and power than in print as cultural work. Mr. Fauske’s strong essay on Swift speaks directly and best to print as the culture of letters. In an animated analysis of Swift’s vacillations from supporting the Tory-driven South Sea scheme to opposing an Irish Bank and Wood’s coinage patent, he offers a disarmingly devious and economically challenged Swift, thoroughly untrustworthy for any reliable accounts of the truth about Ireland’s financial needs or interests once sophisticated financing was involved. The secret to understanding Swift on the Irish economy is to realize that ‘‘he did not have a long-term plan’’ and thoroughly misunderstood the ideas needed to form one. In the Wood affair, for example, Mr. Fauske explains that Ireland desperately needed small coins to conduct daily business with legal tender, that ‘‘the coin was to be offered at something close to its actual metal value,’’ and that Swift’s opposition to Wood’s coinage was both hyperbolic and damaging to Ireland’s economic interests, at least in the short term. On Wood and beyond, Swift ‘‘was 260 playing on fears based on ignorance.’’ Despite his well-supported critique of Swift’s veracity in fiscal matters, Mr. Fauske admires Swift’s ‘‘spectacular grandstanding’’ in print, the fine writing and rhetoric Swift substitutes so delightfully for economic truths. Rhetoric forms the focus of J. Alan Downie’s similar insistence that we must not turn to Swift without weighing his desire to please the audience of the moment and to trim financial sails as necessary. From the Examiner essays to Gulliver’s Travels, Mr. Downie cautions that on money matters Swift typically was ‘‘pandering to the prejudices of the landed country gentlemen’’ and thus must be subjected to thorough rhetorical analysis to plumb the changing motives, styles and voices he improvised for each new economic situation and audience. However, when Mr. Downie tries to extend Swift’s tactical distortions into a counterargument to Habermas’s idea that the early eighteenth century created a new bourgeois public sphere in which...}, number={2}, journal={SCRIBLERIAN AND THE KIT-CATS}, author={Morillo, John}, year={2011}, pages={259–261} }
 @article{morillo_2010, title={Editing Eve: Rewriting the Fall in Austen's Persuasion and Inchbald's A Simple Story}, volume={23}, DOI={10.1353/ecf.2010.0005}, abstractNote={
	  Within the last two decades of the eighteenth century, Elizabeth Inchbald and Jane Austen both responded to the need to critique and rewrite the biblical story of the Fall and the stature of Eve in Christian Britain as a way to turn the romance novel towards feminist social criticism. In A Simple Story (1791) and Persuasion (1817) the Catholic Inchbald and the Anglican Austen, respectively, turn the novel into a forum for feminism and towards a recognizably Romantic method of inquiry. Each edits Eve, in characters such as Miss Milner, Lady Matilda, Louisa Musgrove, and Anne Elliot, in order to anatomize the fate of women in the fallen world. For each, the novel must rewrite the fall of woman if it is to rise above certain eighteenth-century limits and thereby modernize itself. Although they engage with the same Christian tradition, Austen more profoundly explores its ethical consequences, while Inchbald vividly dramatizes its psycho-sexual dynamic.
	}, number={1}, journal={Eighteenth-Century Fiction}, author={Morillo, J.}, year={2010}, pages={195–223} }
 @article{morillo_2008, title={Swift: The Enigmatic Dean: Festschrift for Hermann Josef Real}, volume={41}, ISSN={["0036-9640"]}, DOI={10.1353/scb.2008.0018}, abstractNote={44 shift from Shandean satire toward the sentiment of A Sentimental Journey, Ms. Bowden detects a movement away from anti-Catholicism toward inclusiveness. The final chapter, ‘‘The Shandean Liturgy,’’ brings the full array of church history satisfyingly home. There is a case to be made here—which Ms. Bowden does not—for Sterne as master of an Anglican realism, for his fictions, as this study demonstrates, are steeped in the daily routines of the church. There are explicit moments of contact with the liturgy in Tristram Shandy (such as Yorick ’s sermon, Trim’s catechism, Uncle Toby’s reasons for proposing marriage which are ‘‘written . . . in the Common Prayer Book’’), but this chapter’s point is that the liturgical is present in the quotidian rituals of life in the parish. Every character’s language and actions take their cues from the parish church and the framework of its common assumptions . Walter Shandy, in his idiosyncratic accumulation of arcane learning , is the odd man out in this world— the exception that proves the rule. Christopher Fanning Queen’s University Kingston Swift: The Enigmatic Dean: Festschrift for Hermann Josef Real, ed. Rudolf Freiburg, Arno Löffler, and Wolfgang Zach. Tübingen: Stauffenberg Verlag, 1998. Pp. xv ⫹ 324. ⫽ C65.80. This Festschrift for Hermann Real, known for reconstructing Swift’s library , fittingly expands those shelves by exploring his readings, adding to Swift’s manuscripts, and discussing writers influenced by Swift. We encounter essays on unpublished lines of verse (John Fischer), a new Anglo-Latin letter (Clive Probyn), and responses to Swift by writers as known as Burns and as obscure as an anonymous, admiring Ulster-Scots pastoral elegist (Andrew Carpenter) and a Westminster schoolmaster (Oliver Pickering). The collection is free of any one theoretical or political center of gravity. Contributions vary greatly in length and quality, from two-page sketches of topics to robust and complete arguments. Formal close readings (Frank Ellis, Jürgen Klein, and Gerhild Riemann), contextual historical studies (Rudolf Freiburg, Alan Downie), and philosophical and theoretical investigations (Brean Hammond, Hans-Peter Wagner) comprise a volume in which bibliography and Bergson, historicisms and Huxley all contribute. The order, unfortunately, appears random, since Paul-Gabriel Boucé’s opening philosophical reading of death in Gulliver’s third voyage via ideas derived from Heidegger and Sartre is hardly typical of the empiricism and historicism that dominate the rest. The volume would benefit most from a prefatory essay to sort contributions by topics or methods. Contributors established (Claude Rawson , Mr. Hammond) and newer from nine countries and in multiple languages (Edgar Mertner’s essay on Gulliver’s Travels is in German) celebrate the international scope of Swift scholarship Real has fostered, yet the collection is not limited to his tastes—Hans-Peter Wagner even proudly notes that Real would not like his essay. Collectively the twenty-six essays put the full scope of Swift’s genres into play, including: Gulliver’s Travels (six essays), A Tale of a Tub (three), political prose (three), poetry (two), and letters (two). Best in class are Hugh OrmsbyLennon ’s (grown into a forthcoming Delaware book) and Rudolf Freiburg’s, both on the Tub. In ‘‘Classis? Under the 45 Stage Itinerant,’’ Mr. Ormsby-Lennon expatiates with wit and impressive primary textual details on Swift’s mad modern’s claim that his tale is best filed under the classis of the stage itinerant. After demonstrating via contemporary texts by mountebanks and charlatans how well Swift had mastered the late Restoration’s ‘‘therapeutic palaver of the medicine show,’’ Mr. Ormsby-Lennon moves well beyond the limits of lesser New Historicist studies by both adducing evidence from texts worthy of being called a discourse (Royal Society reports , Rosicrucian tracts, freemason guild rules, coffee house chat) and, most importantly, by distilling all into a pithy point that the masters of discursive manipulation and their communities of readers are frequently charlatans. This move underwrites a deft and wry turn to some current masters of discourse most likely to be feared as charlatans— professional literary theoreticians—as when Mr. Ormsby-Lennon emulates his subject so well: ‘‘Restoration écriture, whether inside or outside the Tub, must be re-imbricated as a kerfuffle between quacks.’’ Despite the...}, number={1}, journal={SCRIBLERIAN AND THE KIT-CATS}, author={Morillo, John}, year={2008}, pages={44–46} }
 @misc{morillo_2007, title={Shelley and the revolutionary sublime.}, volume={46}, number={1}, journal={Studies in Romanticism}, author={Morillo, J.}, year={2007}, pages={129–136} }
 @article{morillo_2006, title={Pope and the destiny of the Stuarts: History, politics, and mythology in the age of Queen Anne.}, volume={45}, ISSN={["0021-9371"]}, DOI={10.1086/509348}, abstractNote={An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.}, number={4}, journal={JOURNAL OF BRITISH STUDIES}, author={Morillo, John}, year={2006}, month={Oct}, pages={895–896} }
 @misc{morillo_2003, title={The  problem of poetry in the Romantic period}, volume={52}, number={2003}, journal={Keats-Shelley Journal}, author={Morillo, J.}, year={2003}, pages={224–226} }
 @article{morillo_newhouse_2000, title={History, romance, and the sublime sound of truth in 'Ivanhoe' (Walter Scott)}, volume={32}, number={3}, journal={Studies in the Novel}, author={Morillo, J. and Newhouse, W.}, year={2000}, pages={269–295} }
 @article{morillo_2000, title={John Dennis: Enthusiastic passions, cultural memory, and literary theory}, volume={34}, ISSN={["0013-2586"]}, DOI={10.1353/ecs.2000.0063}, abstractNote={Despite Edward Niles Hooker's magisterial Critical Works of John Dennis (1939-43), Dennis (1657-1734) has barely avoided the trash heap of history.1 The Augustan dramatist and critic has only occasionally succeeded since then in transcending the pages of Hooker's excellent edition, and studies of his work still remain limited by Pope's having so effectively reduced him to a minor blotch on the little Queen Anne Man's far more brilliant career.2 Like all of the other hapless writers entombed in the Dunciad, Dennis has survived primarily as the butt of Pope and his fellow Scribblerians' jokes or, at best, as a minor figure requiring the stronger ally of a canonized author to gain entrance into modern criticism. Indeed, the most recent discussion of Dennis (1998) treats him primarily in relation to Pope's Essay on Criticism.3 But Dennis's own varied and thoughtful career in literary criticism, as Hooker realized, still deserves more careful attention in its own right.}, number={1}, journal={EIGHTEENTH-CENTURY STUDIES}, author={Morillo, J}, year={2000}, pages={21–41} }
 @book{morillo_2000, title={Uneasy feelings: Literature, the passions, and class from neoclassicism to romanticism}, ISBN={0404635377}, publisher={New York: AMS Press}, author={Morillo, J.}, year={2000} }
 @article{morillo_1997, title={Byron and the Victorians}, volume={36}, ISSN={["0039-3762"]}, DOI={10.2307/25601262}, number={4}, journal={STUDIES IN ROMANTICISM}, author={Morillo, J}, year={1997}, pages={663–671} }