Skip to main content
Taylor & Francis Group Logo
    Advanced Search

    Click here to search products using title name,author name and keywords.

    • Login
    • Hi, User  
      • Your Account
      • Logout
      Advanced Search

      Click here to search products using title name,author name and keywords.

      Breadcrumbs Section. Click here to navigate to respective pages.

      Chapter

      Fiscal Citizens: Female Investors in Public Finance before the South Sea Bubble
      loading

      Chapter

      Fiscal Citizens: Female Investors in Public Finance before the South Sea Bubble

      DOI link for Fiscal Citizens: Female Investors in Public Finance before the South Sea Bubble

      Fiscal Citizens: Female Investors in Public Finance before the South Sea Bubble book

      Fiscal Citizens: Female Investors in Public Finance before the South Sea Bubble

      DOI link for Fiscal Citizens: Female Investors in Public Finance before the South Sea Bubble

      Fiscal Citizens: Female Investors in Public Finance before the South Sea Bubble book

      BookChallenging Orthodoxies: The Social and Cultural Worlds of Early Modern Women

      Click here to navigate to parent product.

      Edition 1st Edition
      First Published 2014
      Imprint Routledge
      Pages 21
      eBook ISBN 9781315571195
      Share
      Share

      ABSTRACT

      This chapter argues that Charlotte Lennox challenged the orthodoxies of her time in a number of ways. She not only made a career for herself as an intellectual and published writer, at a time when it was still relatively rare for women to do this, but she also ventured into the male-dominated and prestigious genre of Shakespeare criticism. She was probably born in 1729 or 1730 in Gibraltar, where her father, James Ramsay, was serving as an officer in the British army. Lennox learned Italian in order to undertake the Shakespear Illustrated project. Her tutor was called Giuseppe Baretti, and he worked very closely with her on her translations. In many instances, Lennox argues straightforwardly for the superiority of Shakespeare's Italian sources to his plays. Clearly, Lennox can be accused of judging the plots and characters of Shakespeare's romantic comedies, and late Romances in particular, by the standards of a later, more realistic or naturalistic mode of writing.

      T&F logoTaylor & Francis Group logo
      • Policies
        • Privacy Policy
        • Terms & Conditions
        • Cookie Policy
        • Privacy Policy
        • Terms & Conditions
        • Cookie Policy
      • Journals
        • Taylor & Francis Online
        • CogentOA
        • Taylor & Francis Online
        • CogentOA
      • Corporate
        • Taylor & Francis Group
        • Taylor & Francis Group
        • Taylor & Francis Group
        • Taylor & Francis Group
      • Help & Contact
        • Students/Researchers
        • Librarians/Institutions
        • Students/Researchers
        • Librarians/Institutions
      • Connect with us

      Connect with us

      Registered in England & Wales No. 3099067
      5 Howick Place | London | SW1P 1WG © 2022 Informa UK Limited