Print, Visuality, and Gender in EighteenthCentury Satire: The Scope in Evry Page (Routledge Studies in EighteenthCentury Liter,New

Print, Visuality, and Gender in EighteenthCentury Satire: The Scope in Evry Page (Routledge Studies in EighteenthCentury Liter,New

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This study interprets eighteenthcentury satires famous typographical obsession as a fraught response to the Enlightenments 'ocularcentric' epistemological paradigms, as well as to a printcultural moment identified by bookhistorians as increasingly 'visual' a moment at which widespread attention was being paid, for the first time, to format, layout, and eyecatching advertising strategies. On the one hand, the Augustans were convinced of the ability of their elaborately printed texts to function as a kind of optical machinery rivaling that of the New Science, enhancing readers physical but also moral vision. On the other hand, they feared that an overly scrutinizing gaze might undermine the viewers natural faculty for candor and sympathy, delight and desire. In readings of Pope, Swift, and Montagu, Mannheimer shows how this distrust of the empirical gaze led to a reconsideration of the ethics, and most specifically the gender politics, of ocularcentrism. Whereas Montagu effected this reconsideration by directly satirizing both the eras faith in the visual and its attendant publishing strategies, Pope and Swift pursued their critique via print itself: thus whether via facingpage translations, fictional editors, or disingenuous footnotes, these writers sought to ensure that typography never became either a mere tool of (or target for) the objectifying gaze, but rather that it remained a dynamic and interactive medium by which readers could learn both to see and to see themselves seeing.

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