Novel Beginnings: Experiments in Eighteenth-Century English FictionYale University Press, 1.10.2008 - 320 sivua In this study intended for general readers, eminent critic Patricia Meyer Spacks provides a fresh, engaging account of the early history of the English novel. Novel Beginnings departs from the traditional, narrow focus on the development of the realistic novel to emphasize the many kinds of experimentation that marked the genre in the eighteenth century before its conventions were firmly established in the nineteenth. Treating well-known works like Tom Jones and Tristram Shandy in conjunction with less familiar texts such as Sarah Fielding’s The Cry (a kind of hybrid novel and play) and Jane Barker’s A Patch-Work Screen for the Ladies (a novel of adventure replete with sentimental verse and numerous subnarratives), the book evokes the excitement of a multifaceted and unpredictable process of growth and change. Investigating fiction throughout the 1700s, Spacks delineates the individuality of specific texts while suggesting connections among novels. She sketches a wide range of forms and themes, including Providential narratives, psychological thrillers, romans à clef, sentimental parables, political allegories, Gothic romances, and many others. These multiple narrative experiments show the impossibility of thinking of eighteenth-century fiction simply as a precursor to the nineteenth-century novel, Spacks shows. Instead, the vast variety of engagements with the problems of creating fiction demonstrates that literary history—by no means inexorable—might have taken quite a different course. |
Kirjan sisältä
Tulokset 1 - 5 kokonaismäärästä 87
Sivu 11
... feeling between the English and the Americans and about the “ natural ” dominance of the British . By extension , it raised questions about everything that had been automatically considered natural . Then , at the century's end , the ...
... feeling between the English and the Americans and about the “ natural ” dominance of the British . By extension , it raised questions about everything that had been automatically considered natural . Then , at the century's end , the ...
Sivu 18
... feels in her losing game with death , as she tries to reconcile with her family , thwarted at every turn by Brand's steadily derogatory reports on her — reports dictated not by conscious malice but by egotism and moral blindness . Few ...
... feels in her losing game with death , as she tries to reconcile with her family , thwarted at every turn by Brand's steadily derogatory reports on her — reports dictated not by conscious malice but by egotism and moral blindness . Few ...
Sivu 26
... feeling its object, achieves emotional effect by fragmentary structure, often refusing resolution for its episodes. The unlikelihood of completion can determine both its subject and its shape. “Sentiment” and “adventure,” like ...
... feeling its object, achieves emotional effect by fragmentary structure, often refusing resolution for its episodes. The unlikelihood of completion can determine both its subject and its shape. “Sentiment” and “adventure,” like ...
Sivu 31
... feels attracted to him. When the duke returns, he rapes Charlot, who has continued to resist him despite her own passion. He then secretly establishes her as his mistress in a country house and urges her to invite the countess to keep ...
... feels attracted to him. When the duke returns, he rapes Charlot, who has continued to resist him despite her own passion. He then secretly establishes her as his mistress in a country house and urges her to invite the countess to keep ...
Sivu 46
... feeling help give him fuller dimensions than his counterparts in Haywood possess . Moll's self - proclaimed repentance in Newgate has aroused doubts in many readers : how authentic , exactly , is it and are her other moral ...
... feeling help give him fuller dimensions than his counterparts in Haywood possess . Moll's self - proclaimed repentance in Newgate has aroused doubts in many readers : how authentic , exactly , is it and are her other moral ...
Sisältö
28 | |
58 | |
4 Novels of Consciousness | 92 |
5 The Novel of Sentiment | 126 |
6 The Novel of Manners | 160 |
7 Gothic Fiction | 190 |
8 The Political Novel | 222 |
9 Tristram Shandy and the Development of the Novel | 254 |
What Came Next | 276 |
Suggestions for Further Reading | 286 |
Works Cited | 292 |
Index | 298 |
Muita painoksia - Näytä kaikki
Novel Beginnings: Experiments in Eighteenth-Century English Fiction Patricia Meyer Spacks Rajoitettu esikatselu - 2008 |
Novel Beginnings: Experiments in Eighteenth-century English Fiction Patricia Ann Meyer Spacks Esikatselu ei käytettävissä - 2006 |
Yleiset termit ja lausekkeet
action adventure appears behavior Caleb Williams calls attention Camilla century chapter characters claims Clarissa concern consciousness conventions conveys crucial David Simple death declares Defoe despite eighteenth eighteenth-century fiction elaborate Eliza Haywood Emma emotional episodes epistolary novel Evelina experience fact Falkland father feeling female Fielding's first-person narrative Gothic Gothic fiction Gothic novels happenings Haywood Hermsprong heroine human Humphry Clinker husband imagined important individual insists Jones kind lack Lady letters literary Lord Elmwood Lord Orville Love in Excess lover Manley marriage marry Matilda means mind Miss Moll Flanders moral mother narrative narrator narrator's nature novel of development novelists offers Pamela pleasure plot political possibility protagonist provides psychological reader reading realism response Richardson Robinson Crusoe romance Roxana Sarah Fielding sense sensibility sentimental fiction sentimental novels servant sexual Sidney Bidulph social story structure sublime suffering suggests tells tion Tom Jones Tristram Shandy virtue women writers Yorick