This text provides an insight into the modes and devices employed in the creation of women's fiction since the 18th century. It argues that traditional theorizations of the sublime depend upon unexamined assumptions about femininity and sexual difference, and that the sublime could not exist without misogynistic constructions of the feminine. Taking this as her starting point, Freeman suggests that the other sublime that comes into view from this new perspective not only offers a crucial way to approach representations of excess in women's fiction, but allows us to envision other modes of writing the sublime.
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