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This paper introduces the concept of gothic violence in order to better theorize how domination operates in Mary Wollstonecraft’s unfinished novel, The Wrongs of Woman, or Maria. The fictive companion to A Vindication of the Rights of Woman, Maria is an account of the titular character’s struggle for self-determination in all aspects of her life, including her desire for a companionate partnership. I argue that Maria’s ultimate lack of freedom is directly attributable to coverture, the patriarchal legal fiction whereby wives (...) are subsumed under the legal persona of their fathers or husbands. Building on scholarship that positions Wollstonecraft as a republican feminist, I show how Maria articulates what I call gothic violence, a form of psychic domination that places the other in a condition of unfreedom by denying their status as an autonomous being and holding them in subordination through a variety of techniques, such as denial of legal and social status and testimonial quieting. I show how gothic violence results in the unfreedom of women through its reliance on domestic settings and intimate relationships, and with the support of law and custom, of which coverture is a central example. I conclude by suggesting that attending to gothic violence in Wollstonecraft’s thought allows us to further see the continuity between her political and fictional writings. (shrink)

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I read Montesquieu’s 'Persian Letters' as an attempt to theorize a liberated alternative to despotic rule. As Montesquieu argues in 'The Spirit of the Laws,' fear—specifically fear of the ruler’s emotional and material excesses—dominates the life of the despotic subject. Although in the 'Letters' the seraglio is the despotic state’s parallel, the seraglio is the site of over owing and barely governed passions. Montesquieu’s solution to the excesses of the seraglio is not the eradication of emotion; rather, he o ers (...) a template for transforming negative passion—fear—into courage, a prelude to a potentially liberating experience. is transformation is portrayed most clearly in the character of Roxane, the rebellious wife whose courageous actions precipitate the collapse of the seraglio. I argue that Roxane’s insurrection and suicide evoke a model established by the Roman matriarch Lucretia. Though not traditional political actors themselves, both Lucretia and Roxane anticipate the possibility of a personal and political liberation through their refusal of fear-based, despotic politics in favour of alternative emotional regimes based in courage. (shrink)

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Rousseau’s embrace of ceremony and festivals in his Considerations on the Government of Poland demonstrates one way for republican political thought to develop a substantive treatment of civic virtue. Differentiating the narcissism of spectacle and theater that Rousseau critiques in the Letter to d’Alembert from the Considerations’ call for a generous affect, I demonstrate that the latter is compatible with a republican ethos premised on civic virtue and patriotic attachment to the nation-state. Rousseau argues for the instantiation of political practices (...) that constantly cultivate political virtue and their associated affective orientations. His treatment of civic ceremonies in the Considerations should be read as an attempt to inculcate patriotic affect in republican citizens via constitutional measures. (shrink)

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