Citation: D. Richter, THE CLOSING OF MASTERPIECE THEATER, FIELDING,HENRY AND THE VALORIZATION OF INCOHERENCE, The Eighteenth century, 37(3), 1996, pp. 195-204
Citation: Ch. Flynn, CLOSING DOWN THE THEATER, AND OTHER CRITICAL ABUSES + REPLY TO RICHTER,DAVID,HENRY, The Eighteenth century, 37(3), 1996, pp. 244-256
Citation: D. Richter, IDEOLOGY AND FORM REVISITED + REPLY TO RICHETTI,JOHN, SPACKS,PATRICIA,MAYER, BUTLER,DAVID,HENRY, AND FLYNN,CAROL,HOULIHAN, The Eighteenth century, 37(3), 1996, pp. 285-286
Citation: Ra. Barney, RE-VEILING PARADIGMS, EDUCATION, PSYCHOANALYSIS, AND THE DISCIPLININGOF 18TH-CENTURY CULTURE, The Eighteenth century, 37(2), 1996, pp. 174-183
Citation: C. Richards, THE PLEASURES OF COMPLICITY, SYMPATHETIC IDENTIFICATION AND THE FEMALE READER IN EARLY 18TH-CENTURY WOMENS AMATORY FICTION, The Eighteenth century, 36(3), 1995, pp. 220-233
Citation: T. Nickel, INGENIOUS TORMENT, INCEST, FAMILY, AND THE STRUCTURE OF COMMUNITY IN THE WORK OF FIELDING,SARAH, The Eighteenth century, 36(3), 1995, pp. 234-247
Citation: Bs. Hammond, CORINNAS DREAM + AN APPROACH TO SWIFT POEM A 'BEAUTIFUL YOUNG NYMPH GOING TO BED', The Eighteenth century, 36(2), 1995, pp. 99-118
Citation: Ge. Haggerty, AMELIAS NOSE, OR, SENSIBILITY AND ITS SYMPTOMS -RESPONSE IN 18TH-CENTURY LITERATURE( THE BODY AS AN AGENT OF SEXUAL), The Eighteenth century, 36(2), 1995, pp. 139-156