{'fraction_non_alphanumeric': 0.033962264150943396, 'fraction_numerical': 0.016981132075471698, 'mean_word_length': 4.892592592592592, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Polemic with Rousseau over Gender and Sociability in E. S. Urusova's Polion (1774)

One of the basic challenges we face in reading eighteenth-century works of literature is loss of context, the lack of those cultural conventions and points of reference that give meaning, substance, and life to any communicative act. This is particularly the case as regards eighteenth-century Russian women's writing, which has only recently begun to be uncovered and explored. A case in point is Princess Ekaterina Urusova (1747-after 1816) and her Polion or the Misanthrope Enlightened (1774), one of the first individual poetic works and the first poema published by a Russian woman writer.1 While many of Urusova's works were published anonymously, there is evidence that she was known and earned significant recognition as an author. In 1772, the year her first individually issued work came out, a verse epistle to R D. Eropkin, Nikolai Novikov praised the poet's songs, elegies, "and other small poems" for their "pure style, delicacy and pleasant descriptions," even though to that date Urusova had not published any short works?at least, not under her name.2 A few years later the anonymous reviewer of Urusova's Heroldes Dedicated to the Muses {Mil) noted that Polion was by the same unnamed but known woman author, and declared that it had "long since earned the praises and respect of our best Poets."3 Derzhavin referred to Urusova in his Memoirs as a "famous poet (slavnaia stikhotvoritsa) of that time" (the 1770s), but noted that he had jokingly declined the suggestion to marry her on