Abstract
AbstractTranslations of Wollstonecraft's works gave her a distinctive literary ‘afterlife’ on the European continent. This article takes as a case study Basile‐Joseph Ducos's translation of Maria, or the Wrongs of Woman (1798). Ducos's translational choices, which subdue radical aspects of Wollstonecraft's feminism, stem from the moral climate and gender ideology of the Directoire, French sentimental literary conventions and his interpretation of ambiguities or innovations in Wollstonecraft's unfinished text. The article focuses on Wollstonecraft's adaptation of sentimental conventions to her feminist agenda, arguing that Ducos suppresses her conception of erotic experience as a catalyst for imaginative insight and personal growth.
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