Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 “Je suis Voltaire,” or, Appropriating the Philosophe in the Social Media Age
- 2 “Who Lives, Who Dies, Who Tells Your Story?”: The Uses of Hamilton in Special Collections Pedagogy and Public Engagement
- 3 Performing Frankenstein in the South: Sex, Race, and Science across the Disciplines
- 4 French Fairy Tales and Adaptations in the Twenty-First-Century Classroom
- 5 Select Trials at the Sessions-House in the Old-Bailey (1742) and Mark Ravenhill’s Mother Clap’s Molly House (2001)
- 6 Teaching with The Pilgrim’s Progress Video Game
- 7 Eliza Haywood’s “Bad Habits”: Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress’d Orphan; or, Love in a Madhouse
- 8 Teaching Eighteenth-Century Literature through Eighteenth- Century Adaptations: Adaptive Structures
- 9 “A Private Had Been Flogged”: Adaptation and the “Invisible World” of Jane Austen
- 10 Fifty Shades of Pamela in the Undergraduate Classroom
- 11 Teaching the Austen-Monster-Mashup: Sense and Sensibility and Sea Monsters
- 12 Learning to Adapt: Teaching Pride and Prejudice and Its Adaptations in General Education Courses
- 13 Race and Romance: Adapting Free Women of Color in the Long Eighteenth Century
- 14 The Crusoeiana: Material Crusoe
- 15 Adaptation in Strange Places: Terrence Malick’s To the Wonder and the Narrative Effect and Form of Samuel Richardson’s Pamela
- 16 Adapting the Tombeaux des Princes: A Study in Media Variations
- 17 Experiential Pedagogy to Join the Thread of Conversation with Paul et Virginie
- 18 “Lookin’ for a Mind at Work”: Hamilton, Adaptation, and Enlightenment Ideals for the Core Curriculum
- Notes on the Contributors
- Index
7 - Eliza Haywood’s “Bad Habits”: Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress’d Orphan; or, Love in a Madhouse
Published online by Cambridge University Press: 26 April 2020
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 “Je suis Voltaire,” or, Appropriating the Philosophe in the Social Media Age
- 2 “Who Lives, Who Dies, Who Tells Your Story?”: The Uses of Hamilton in Special Collections Pedagogy and Public Engagement
- 3 Performing Frankenstein in the South: Sex, Race, and Science across the Disciplines
- 4 French Fairy Tales and Adaptations in the Twenty-First-Century Classroom
- 5 Select Trials at the Sessions-House in the Old-Bailey (1742) and Mark Ravenhill’s Mother Clap’s Molly House (2001)
- 6 Teaching with The Pilgrim’s Progress Video Game
- 7 Eliza Haywood’s “Bad Habits”: Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress’d Orphan; or, Love in a Madhouse
- 8 Teaching Eighteenth-Century Literature through Eighteenth- Century Adaptations: Adaptive Structures
- 9 “A Private Had Been Flogged”: Adaptation and the “Invisible World” of Jane Austen
- 10 Fifty Shades of Pamela in the Undergraduate Classroom
- 11 Teaching the Austen-Monster-Mashup: Sense and Sensibility and Sea Monsters
- 12 Learning to Adapt: Teaching Pride and Prejudice and Its Adaptations in General Education Courses
- 13 Race and Romance: Adapting Free Women of Color in the Long Eighteenth Century
- 14 The Crusoeiana: Material Crusoe
- 15 Adaptation in Strange Places: Terrence Malick’s To the Wonder and the Narrative Effect and Form of Samuel Richardson’s Pamela
- 16 Adapting the Tombeaux des Princes: A Study in Media Variations
- 17 Experiential Pedagogy to Join the Thread of Conversation with Paul et Virginie
- 18 “Lookin’ for a Mind at Work”: Hamilton, Adaptation, and Enlightenment Ideals for the Core Curriculum
- Notes on the Contributors
- Index
Summary
A student who took my Restoration and Eighteenth-Century British Literature class last year thanked me for helping her to find her voice by giving me a gift: an Eliza Haywood mug with images and a quote from The Female Spectator. Like many students, she loved Haywood and continued to reference her work long after the class had ended; indeed, during the fol- lowing semester, she suggested to her Shakespeare professor that he revise his syllabus to include Haywood as an anachronistic riposte to the patriar- chal oppression she saw in Shakespeare's plays. My student's intertextual ges- tures—the gift of Haywood's words repurposed and given back—and the suggestion to include Haywood's words as a feminist talking back to the male literary canon are wonderful and apt. Haywood's texts resonate with contemporary students: the heroines are smart young women whose under- standing of patriarchy develops alongside their need to navigate its restric- tions; the figuration of sex as power is hashtag relevant; and the plot lines are lascivious, transgressive, often melodramatic, and brief. I am not surprised that Haywood is engaging and teachable; rather, I am surprised by the pau- city of Haywood adaptations.
Eliza Haywood (1693?–1756) was one of the most popular writers in her time. She was a prolific and nimble writer who published dozens of novels, plays, poems, and periodicals, including one written specifically for a female audience. As one of the first professional woman writers, and one known best for her scandal fiction, Haywood herself was often the subject of scan- dal and the object of male literary vitriol and derision. While Haywood's work has entered our literary canon, the afterlives for Haywood's heroines have been limited. This chapter takes up several exciting adaptations of Fantomina: or, Love in a Maze (1725) and of The Distress’d Orphan; or, Love in a Madhouse (1726), novels about how to read and manipulate behavior, identity, and social conventions. Both narratives condemn the institutional- ization and normalization of patriarchal controls over women's bodies and fortunes.
- Type
- Chapter
- Information
- Adapting the Eighteenth CenturyA Handbook of Pedagogies and Practices, pp. 109 - 124Publisher: Boydell & BrewerPrint publication year: 2020