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Zeitschriftenartikel zum Thema "1689-1761"
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Scheuer, J. L., und J. E. Bowman. „The Health of the Novelist and Printer Samuel Richardson (1689–1761): A Correlation of Documentary and Skeletal Evidence“. Journal of the Royal Society of Medicine 87, Nr. 6 (Juni 1994): 352–55. http://dx.doi.org/10.1177/014107689408700616.
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Дєточка, Ольга. „Традиція зображення монархинь Великобританії в декоруванні тонкої кераміки кінця XVII–ХХ століть“. Вісник КНУКіМ. Серія «Мистецтвознавство», Nr. 49 (15.12.2023): 8–16. http://dx.doi.org/10.31866/2410-1176.49.2023.293277.
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Мета статті полягає в розкритті специфіки традиції зображення монархинь Великої Британії в декоруванні фарфору-фаянсу періоду кінця XVIІ–ХХ ст. Результати дослідження. Визначено, що перші встановлені вироби з означеним штибом оздоблення датуються 1690 і 1702 роками, перший присвячений постаті королеви Англії, Шотландії й Ірландії – Марії ІІ (1689–1694). Другий ранній твір зображує її наступницю Анну (1702–1707). Водночас зацікавленість продукуванням місцевого фарфору-фаянсу з’явилася за часів королеви Шарлотти (1761–1718), що вплинуло на розвиток традиції зображення правительок Англії в оздобленні місцевих творів. З’ясовано, що звичай втілення образів монархинь набув розквіту за часів королеви Вікторії (1837–1897). Цю тенденцію зумовили такі чинники: активна діяльність і розширення асортименту британських тонкокерамічних мануфактур; пошук власних самобутніх мотивів декорування, які поступово звільнялися від впливу шинуазрі. Визначено, що масового поширення традиція зображення королев зазнала вже в період правління Єлизавети ІІ (1953–2022). Встановлено, що окреслений мотив декорування був репрезентований низкою таких знаних тонкокерамічних мануфактур і заводів Британії, як Дербі, Веджвуд, Вурстер, Споуд, Аддерлі. Наукова новизна полягає в систематизації й уточненні інформації щодо застосування мотиву зображення монархинь в оздобленні тонкої кераміки Великобританії, зокрема періоду кінця XVII–ХХ ст. Висновки. На основі здійсненого дослідження можна стверджувати, що мотив зображення королев є осібною віхою варіацій декорування, притаманних мистецтву фарфору-фаянсу Англії. Серед художньо-промислових осередків, які систематично зверталися до традиції зображення монархинь Туманного Альбіону, належать Вурстер, Веджвуд, Споуд, Доултон й окремі менш відомі майстерні Стаффордширу. Визначено, що ілюстрування сюжету королівських персоналій було більш притаманне оздобленню декоративних блюд, чашок і кубків, меншою мірою використовувався в декоруванні статуеток і медальйонів.
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Albay, Neslihan Günaydın. „Orientalist Perspective in the Letters of Lady Mary Montagu and Kelemen Mikes“. World Journal of Social Science 8, Nr. 2 (17.06.2021): 13. http://dx.doi.org/10.5430/wjss.v8n2p13.
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An English aristocrat, poet and writer, Lady Mary Wortley Montagu (1689-1762) was a privileged and distinguished woman traveller in her time. During her sojourn in Ottoman Istanbul, she noted down significant details as regards the Constantinople and seraglio through her vivid descriptions as a liberated woman in her Embassy Letters. Another significant oriental work, Letters from Turkey by Kelemen Mikes (1690-1761), who was a Transylvanian-born Hungarian writer and political figure, is centered upon Mikes’s life in exile between the years 1717 and 1758 within the boundaries of the Ottoman Empire. In Letters from Turkey, we can feel his strong sense of Hungarian identity and his steadiness in maintaining his cultural and religious customs and values in his elaboration of his own and the “other” culture, while his praising the benign and merciful ruling style of Ottoman Sultans offers a different view of orientalism in favour of the “other” culture (Ottoman Empire). Therefore, the purpose of this paper is to examine the Letters of Lady Mary Montagu and Kelemen Mikes from their political, ethnical, religious and personal perspectives and trace several relationships that has allusive discussion relativity in the discourse of Orientalism. After having explained the specific letters of both writers, I will attempt to use the scope of Edward Said’s Orientalism and Enlightenment Orientalism discussed in Sirinivas Aravamudan’s Enlightenment Orientalism: Resisting the Rise of the Novel, as a magnifying glass to different oriental images and conceptions contradictory with the reality in the eighteenth century. This study will mostly make use of Edward Said’s account of orientalism as well as Stephen Greenblatt’s theory of Self Fashioning in order to explicate the differences as to how the Orient is perceived by the authors from different cultures but from the same period. In order to highlight how the definition of Orient changes, this paper attempts to define the Orient in accordance with the works of Lady Montagu and Kelemen Mikes.
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Pereira Lage, Ana Cristina, und Thiago Gomes Medeiros. „Uma missão sem fronteiras“. Dimensões, Nr. 50 (20.07.2023). http://dx.doi.org/10.47456/dim.v50i50.40155.
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Gabriel Malagrida (1689-1761), missionário italiano da Companhia de Jesus, foi responsável por fundar instituições educativas na América portuguesa. Objetiva-se analisar a sua influência na fundação e funcionamento de recolhimentos femininos, que seguiam os princípios das ursulinas, e que visavam não só o recolhimento, mas também educar meninas para uma vida laica, voltada para o matrimônio e a maternidade. Destaca-se o recolhimento da Soledade de Salvador, fundado em 1739, cuja análise documental demonstra os entrelaçamentos dos jesuítas com as ursulinas. Ao analisar documentação do Arquivo Histórico Ultramarino e com os aportes teórico metodológicos da História Social será possível compreender as conexões do padre Gabriel Malagrida junto à Corte portuguesa, o apoio obtido das elites locais e de seus irmãos inacianos em suas ações voltadas para o disciplinamento do sexo feminino na colônia.
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Bisacccia, Carmela, Luca Salvatore De Santo und Natale Gaspare De Santo. „P1836GOUT A PAPAL DISEASE: A STUDY ON 20 PONTIFFS (540-1830 AD)“. Nephrology Dialysis Transplantation 35, Supplement_3 (01.06.2020). http://dx.doi.org/10.1093/ndt/gfaa144.p1836.
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Abstract Background and Aims Pope Gregory I (Magnus)―born c.540 AD, Pope 580-604 AD―in a letter to Bishop Venanzio ofLuni (later venerated as a saint) wrote “I have been confined to bed for the last eleven months, because of pain and malaise and suffer because of goutand my life has been turned into a penitence for my sins thus I am waiting death as a physician who will give me health”. He was the first Pope to suffer of gout and opens a list including in the years 20 pontiffs that includes Sisinnius, (b.650, pope 21 day in 708); Boniface VI (b. 806, Pope 15 days in 886), Honorius IV (b.1210, Pope 1285-1287); Boniface VIII (b. 1230, Pope 1294-1303); Clement VI (b.1281,Pope 1342-1352), Nicholas V (b.1387, Pope 1447-1455); Pius II( b. 1405, Pope 1458-1464); Sixtus IV (b. 1414, Pope 1471-1474); Pius III (b.1440, Pope 26 days in 1503); Pius IV (b. 1499, Pope 1559-1565); Julius II (b. 1443, Pope 1503-1516); Julius III (b.1481, Pope 1550-1555); Clement VIII (b. 1536, Pope 1592- 1605); Clement X (b.1581, Pope 1670-1676); Innocent XI (b.1681, Pope 1676-1689); Innocent XII (b.1649, Pope 1676-2692); Innocent XIII (b.1655, Pope 1721-1724); Benedict XIV (b. 1765, Pope 1740-1758), and Pius VIII (b.1761, Pope 1829-1830). Their mean age at death was 69.4 years, the youngest being Sisinnius (59 years), the oldest being Clement X (96 years). Results Some popes were strong eaters like Boniface VIII. He was chronically affected by gout and renal stone disease and by the fear for death, and the search for therapies capable to prolong life. Cosmacini says “podagroso e gottoso”… the Pope is affected by arthritis and renal disease due to overalimentation very rich (straricca) in meat”. He enrolled various archiaters among them Taddeo Alderotti (1223-1295), Pietro da Abano (1257-1315), Anselmo da Bergamo (artisphysicae professor), Simone of Genova (author of Clavissanationis), Accursino from Pistoia, Manzia from Fabriano, Gugliemo da Brescia, Angelo da Camerino and Campano da Novara (Magister Campanus), the naturalist he too affected by renal stone disease. Julius III too was a strong eater (he loved fatty foods seasoned with garlic) as was Pius IV, the hard worker who everyday used to take a nap after lunch and a long walk later in the day. By contrast Nicholas V (his Pontiff saw in 1453 the Fall of Costantinople and the end of the Hundred Years War) was a sober eater and drinker as were Pius II who made use of simple common foods, little wine and slept up to 5-6 hours. Probably Nicholas V died uremic since his pale natural color switched into yellowish-brown (itaque ex naturali et subcandido in croceumsubcinericiumque color suusconversusest). Pius III “was a sober eater and drinker and used to dine every two days. Some of the above popes were patrons of universities (Boniface VIII, Nicholas V, Pius II), some were patrons of arts and science (Nicholas V, Sixtus IV). Boniface VIII is remembered for the Bulla detestandeferitatis (against dismemberment and evisceration of cadavers), issued on September 27, 1299). For thatBulla, during the subsequent centuries he was wrongly accused even by Herman Boerhaave and Albrecht von Haller to have retarded the advancement of medicine by impeding anatomical dissections. By contrast Sixtus IV is remembered not only for modernizing Rome and embelling it, but for the 1482 Breve to the University of Tubingen allowing―for teaching purposes ―dissection of dead bodies of people sentenced to death.
Dissertationen zum Thema "1689-1761"
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Bobbitt, Curtis W. „Internal and external editors of Samuel Richardson's Clarissa“. Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/720152.
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Samuel Richardson's second novel, Clarissa: or, The History of a Young Lady, one of the longest novels in English, has appeared in dozens of significantly different editions, many of them abridgments. This study examines the means by which Richardson and later editors altered the text of Clarissa, primarily by working with three variables: its epistolary format, its length, and its explicit moral lessons.The first half of the study reviews relevant scholarly research and traces Richardson's uses of internal editors in his four editions of the novel. Richardson's omniscient editor, the most visible and conventional of the internal editors of ClarissR, operates both inside and outside the epistolary framework of the novel. Inside, the editorial voice adds identifying tags to letters and summarizes missing letters. Outside, the editor emphasizes moral elements of the novel by means of a preface and postscript, numerous footnotes, a list of principal characters, and a judgmental table of contents. Richardson expanded the role of this editor in each of his successive editions.Richardson's mastery of the epistolary format further appears in his use of all the major correspondents as internal editors. Jack Belford operates most visibly, assembling correspondence to and from Clarissa and Lovelace to vindicate Clarissa's memory and instruct possible readers. Belford's Conclusion serves a similar function to the nameless editor's preface and postscript. Richardson also gave Clarissa, Anna Howe, and Lovelace editorial tasks, including introducing and summarizing letters, footnoting, and altering letters before showing them to someone other than the intended recipient.Each major correspondent also has a unique individual editorial function.The study's second half analyzes and compares seven abridgments of Clarissa published between 1868 and 1971, concluding that all seven drastically change the novel (yet in differing fashions) despite their retention of its plot and epistolary format.All seven external editors alter Richardson's stated intentions. Four variables shape the comparison: stated editorial intent, omissions, alterations, and additions. An appendix lists the contents of all seven abridgments by individual letter.Department of English
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Rain, David Christopher. „The death of Clarissa : Richardson's Clarissa and the critics“. Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phr154.pdf.
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McLachlan, Dorice. „Clarissa's triumph“. Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68120.
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This thesis examines Richardson's representation in Clarissa of the heroine's triumphant death. It considers Clarissa's triumph in relation to the implicit doctrine of freedom of the will and the constitution of the self. Clarissa and Lovelace represent the uncontrollable freedom of the human will and exemplify its potentiality either to choose the good or to subject itself to the desire for power and self-gratification. Chapter one of this thesis discusses Clarissa in relation to the theories of several current literary theoreticians whose work constitutes a response to Kant's ideas on freedom and ethical decisions. The remaining chapters seek through close reading and interpretation of key scenes in the novel to understand what Richardson meant to represent through Clarissa's triumphant death. The argument reassesses Richardson's use of exemplary figures to embody his spiritual and moral ideas. It addresses the problem of ambiguity in Clarissa's forgiveness of her persecutors. Richardson's representation of Clarissa's triumph has both worldly and spiritual aspects. Acting always in accordance with principled choice (second-order evaluations), Clarissa resists all attempts to subjugate her; she reconstitutes her identity to become a Christian heroine. She achieves spiritual transcendence through penitence for her errors, forgiveness of those who have injured her and complete resignation to the will of God. Lovelace's misuse of free will and his refusal to relinquish his libertine identity and reform lead to his final worldly and spiritual defeat. Through their lives and deaths Clarissa and Lovelace demonstrate that individuals are responsible for the choices they make, for the identities they establish, and that they must accept the consequences of their choices.
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Maaouni, Jamila. „Les personnages des romans de Samuel Richardson : (1689-1761) : le héros et le double“. Paris 3, 1992. http://www.theses.fr/1992PA030092.
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Le foisonnement des personnages dans les romans de samuel richardson est tel qu'il invite a definir une problematique qui soit a la fois reflet de la conscience du romancier a l'oeuvre dans la creation litteraire et transposition ou distanciation critique. Certe, l'intention premiere du romancier des d'instruire son lecteur. Mais les personnages de ses romans ont aussi d'autres fonctions, moins apparentes, et les ressorts qui les animent relevent souvent du non-dit. Il s'agit donc de nrespecter a la fois le dessein moralisateur du romancier en examinant les attitudes de ses personnages devant la societe tout en elucidant le sens des silences et du non-dit qui emaillent, de facon paradoxale, ces romans prolixes et qui revelent, peut-etre davantage, l'essence de l'esprit createur a l'oeuvre dans la peinture des personnages. L'etude du personnage pose des problemes qui sont encore loin d'etre resolus. Un examne des relations gemellaires entre les protagonistes et leurs correspondants permet de degager des lois susceptibles de devoiler des aspects contradictoires du romancier. L'unite structurale de la trilogie depend des personnages narrateurs qui se repondent d'un roman a l'autre, comme en echoThe multiplicity of characters in richardson's novels is such that it calls for a definition of the field of research. The present study aims at giving both a reflection of the novelist's conscience at work within the literary creation and a transposition or critical distancing. The novelist's primary aim is to instruct and edify his reader. But his characters also have other functions and more hidden motives. The relationships between richardson's characters and the society in which they live are charged with meaning. However, paradoxically, the silences and tacit assumptions peppered in these prolix novels are perhaps of greater significance in so far as they reveal the essence of the creative spirit at work in the painting of characters. The study of character poses problems that are far from being resolved. The main interest of an examination of the twin relations between the protagonists and their correspondents in richardson's epistolary novels lies in the fact that they disclose the novelist's contradictory aspects
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Dachez, Hélène. „Ordre et désordre : le corps et l'esprit dans les romans de Samuel Richardson (1689-1761)“. Paris 3, 1998. http://www.theses.fr/1998PA030155.
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L'etude de l'ordre et du desordre a travers le corps et l'esprit fait ressortir la complexite et l'unicite des romans epistolaires de samuel richardson. L'ordre disparait au profit de dereglements qui affectent l'esprit et l'organisme des personnages, le corps du texte et le corpus romanesque. Les deux principes entretiennent un rapport dialectique et l'auteur presente une coincidence des contraires. Les romans tendent vers l'ordre qui n'est envisage qu'apres des moments d'epreuves necessaires a la purification et a la sublimation des troubles. Toutefois, la quete de l'ordre reste incomplete et les deux elements sont indissociables. Cette dialectique (fusionnelle) informe l'esthetique romanesque. L'ecrivain rejette la linearite et integre l'ellipse a ses oeuvres, qui contournent leur centre et melent realite et theatralite. Le texte progresse en regressant et sollicite le lecteur. Le roman, multiple et plurivoque, se dedouble, se renverse et nie tout manicheisme. Sa structure l'apparente a un jardin a l'anglaise l'ecrivain joue avec les conventions litteraires pour souligner le caractere paradoxal de son corpus, qui semble echapper a toutes les instances ordonnatrices, pour s'achever sur l'impossibilite de conclure. L'interpenetration de l'ordre et du desordre proposee par richardson donne naissance a un nouvel ordre romanesqueThe complexity and uniqueness of samuel richardson's epistolary novels become apparent through the study of order and disorder in the light of body and mind. Order is thwarted by the troubles affecting the characters' minds and bodies, the body of the text, and the literary corpus. The two principles are united in a dialectical pattern in which the writer underlines the coincidence of contraries. The novels strive after order, which is only contemplated after trials necessary to the purification and sublimation of perturbations. However the quest for order remains incomplete, and the two elements are inseparable. The fusional dialectics influences the novels' aesthetics. Richardson rejects linearity and integrates ellipsis into his works, which revolve around their centre, and mix reality and theatricality. The text progresses at the same time as it regresses, and requires the reader's participation. Inversion and doubleness are at the core of the novels, which become multiple and plurivocal, and avoid any kind of manicheism. Their structure is akin to that of an eighteenth- century english garden. The writer plays with literary conventions to show the paradoxes of the corpus, which seems to escape the control of the various organizing instances and ends on the impossibility to come to a conclusion. The interpenetration of order and disorder is organized by richardson to create a new novelistic order
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Ghabris, Maryam. „Les passions dans les romans de Samuel Richardson“. Paris 3, 1990. http://www.theses.fr/1990PA030098.
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Les passions, que fustigent les philosophes depuis les anciens grecs, les prédicateurs et les romanciers, constituent le thème essentiel des romans de Samuel Richardson. Il les développe, de l'amour à la haine du moi, depuis leur éveil jusqu'à leurs excès et leurs conséquences. Favorisées par le tempérament anglais et par la condition de la femme considérée comme l'objet prometteur des passions des hommes, les passions sont à l'origine des vices de la société du dix-huitième siècle qui n'apportent que souffrance et malheur. Richardson défend la femme et prône chez les deux sexes la chasteté, la délicatesse, la sensibilité et l'amour du prochain. Il met en garde deux qui, abuses par leurs passions, oublient que la vie temporelle n'est qu'une vie probatoire en vue de la vie éternelle; il les encourage à se reformer par le repentir avant que le destin ne les surprenne dans une mort prématurée. Richardson, moraliste chrétien, conseille une éducation fondée sur l'obéissance à la loi morale et sur l'adhésion à la foi en dieu. Richardson, romancier, analyste du coeur humain, fait pénétrer le lecteur dans les profondeurs de l'inconscient de ses personnages, par le biais d'une composition habile, aux intrigues bien construites, aux dialogues vivants et au style qui donne à l'expression des passions une authenticité jamais atteinte jusqu'ici. Chantre de la raison et de la sensibilité, Richardson servira de modèle aux romanciers et son oeuvre donnera le ton au roman sentimentalPassions, criticised by the greeks, preachers and novelists, are the essential themes in the novels of Samuel Richardson. He develops these, from one extreme passion to the other, from their awakenings to their excesses and their consequences. Favoured by the english temperament, and by the condition of the woman considered as the promising object of men, passions are the sources of the vices of eighteenth-century bringing suffering and calamity. Richardson defends the woman and commends chastity, delicacy, sensibility and generosity for both sexes. He warns those who, misled by their passions, forget that temporal life is not but a life of trial if compared to eternal life. Richardson encourages men to change their ways by repenting before destiny surprizes them by an untimely death. Richardson, a christian moralist, advises an education based on obeying the moral code and an adhesion to faith in god. As a novelist and an analyst of the human heart, he invites the reader to penetrate into the subconscious of his characters in his shillful composition, well-constructed plots, lively dialogues and a style which gives to the expression of passions an authenticity never before attained. Eulogist of reason and sensibility, Richardson served a model for women novelists and his work gave a tone to the sentimental novel
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Bender, Ashley Brookner. „Samuel Richardson's Revisions to Pamela (1740, 1801)“. Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4638/.
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The edition of Pamela a person reads will affect his or her perception of Pamela's ascent into aristocratic society. Richardson's revisions to the fourteenth edition of Pamela, published posthumously in 1801, change Pamela's character from the 1740 first edition in such a way as to make her social climb more believable to readers outside the novel and to "readers" inside the novel. Pamela alters her language, her actions, and her role in the household by the end of the first edition; in the fourteenth edition, however, she changes in little more than her title. Pamela might begin as a novel that threatens the fabric of class hierarchies, but it ends-both within the plot and externally throughout its many editions-as a novel that stabilizes and strengthens social norms.
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Trew, Esther Maxine [UNESP]. „Personagens femininas nos primórdios do romance moderno: Pâmela e Júlia, ou A nova Heloísa“. Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/102391.
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Apesar de obter sua maior projeção no século XIX, o gênero romance já se destacava no horizonte literário europeu do século XVIII e apresentava grandes transformações. Ele se firmou em meio a mudanças sociais, políticas e econômicas importantes. Este estudo focaliza duas obras desse período, Pâmela escrita por Samuel Richardson e Júlia, ou A nova Heloísa escrita por Rousseau, na Inglaterra e França, respectivamente, e considera características do gênero emergente como individualismo, sentimentalismo e moralismo que são destacadas nas duas obras. São realizadas também análises de aspectos como personagens, tempo e espaço, entre outros, a fim de verificar como essas categorias da narrativa se manifestavam na época no gênero nascente. O contexto em que as duas narrativas foram produzidas é também descrito e busca-se determinar sua influência enquanto elemento fundamental para a constituição do gênero. Por outro lado, a representação da mulher nessas duas obras é focalizada de maneira a demonstrar que o romance, ao mesmo tempo em que retratava a sociedade que o produzia e a posição que a mulher ocupava nela, ajudou também a forjá-la, alterando-lhe os conceitos e os comportamentos. A análise da mulher parte da representação feita em Pâmela e Júlia, ou A nova Heloísa no que se refere ao casamento, ao sentimento e à morte delas enquanto personagens femininas criadas por escritores homens.
Although the novel achieved its maturity in the nineteenth century, it was already present in the literary landscape during the previous century. It became consolidated in a time of important social, political and economic changes. This study focuses on two novels of this period, Pamela, by Samuel Richardson and Julie, or The new Heloise written by Rousseau and published in England and France, respectively, and considers characteristics of the new literary genre, such as individualism, sentimentalism and moralization, each pointed out in the two works. Other aspects such as characters, time and space are analyzed with the objective of observing how they were manifested in the period when the novel was appearing as a genre. The context where the two narratives were produced is also described so as to determine its influence as a fundamental element in the constitution of the novel. The representation of the woman in these two works is also considered as a means to show that the novel, even while reflecting the society that produced it, also helped to mold it. The analysis of the woman is based on the representation in Pamela and Julie, or The new Heloise in as much as it considers their marriage, sentiment and death as female characters created by authors who were men.
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Lesueur, Christophe. „Poétique et économie de la communication dans Clarissa de Samuel Richardson“. Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20020.
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Le problème de la communication, et pas seulement du danger des liaisons, est au cœur du roman épistolaire de manière générale et de Clarissa de Samuel Richardson en particulier. Sans cesse menacée d'interruption, la communication représentée dans la diégèse du deuxième roman de Richardson influe également sur le sens et relève à ce titre de ce que Janet Altman a appelé l'épistolarité. Cette étude se concentre sur le code de la communication représentée dans l'œuvre et saisit la lettre dans l’économie de l’information toute particulière dont elle participe, à la croisée d'une communication interne entre ses personnages et des exigences d'une communication externe qui voit le matériau épistolaire affluer vers le Lecteur. Elle s'efforce de souligner à quel point le scénario romanesque est informé par la nature des communications au travers desquelles il s’exprime ainsi qu'à travers les communications auxquelles il donne lieu (Clarissa étant l'objet d'âpres négociations entre son auteur et ses lecteurs), tout comme il informe à son tour la nature de ces communications. L'examen de la communication dans et autour du roman de Richardson met en évidence l'existence d'une poétique qui est aussi une économie. L'histoire de Clarissa n'est pas tant l'histoire de ses lettres que celle de ses communicationsThe problem of communication, and not only that of the danger of the liaisons, is at the heart of the epistolary novel in general and of Samuel Richardson's Clarissa in particular. Constantly threatened with interruption, the communication represented in the diegesis of Richardson's second novel also informs meaning and thus belongs to what Janet Altman called epistolarity. This study concentrates on the code of communication represented in the work and endeavors to grasp the letter in its particular economy of communication, at the crossroads of internal communication between its characters and the demands of an external communication that requires that the epistolary material be oriented towards the reader. This study strives to underline to what extent the novelistic scenario is informed by the nature of the communications through which it expresses itself as well as by the communications it produces among its readers in the shape of letters to the author. The examination of communication in and around Richardson's novel bears witness to the existence of a poetics that is also an economy. The history of Clarissa is not so much that of its letters as that of its communications
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Bowen, Michael John. „Uncertain affections : representations of trust in the British sentimental novel of the eighteenth century“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38158.
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This thesis examines representations of trust in selected British sentimental novels of the eighteenth century. It focuses principally on the manner in which sentimental prose fiction reflects and participates in the shift from premodern to modern formations of trust. Commenting on the nature of modern trust, Anthony Giddens claims that, with the move to modernity, trust relations in the intimate sphere become increasingly dependent on emotional mutuality, while trust in institutions becomes increasingly impersonal and disengaged from assessments of moral character.My work explores this dual shift in three sentimental novels. It first analyzes Samuel Richardson's Pamela (1740) and contends that Richardson denies the concept of honor its epistemological role in practical deliberations. The denial of the epistemology of honor uncouples the mechanism of personal trust from assessments of role and role performance and thus makes the trust in persons in the intimate sphere less dependent on institutional forms of trust. To replace honor's role in the formation of trust, Richardson proposes that the sentiments can provide reliable grounds for trust in the intimate sphere. However, he denies the sentiments a role in the formation of an encompassing social trust among strangers and mere acquaintances. The thesis proceeds to read Henry Fielding's Amelia (1751). In order to argue that Fielding envisioned divergent grounds for trust relations, it maintains that Fielding considers trust relations in the intimate sphere and trust relations in public life as based on the sentiments and fair distribution respectively. To conclude, the thesis investigates Oliver Goldsmith's The Vicar of Wakefield (1766) to uncover the manner in which Goldsmith distinguishes personal trust in the intimate sphere from general system trust, which Goldsmith ultimately envisions as an ontological trust in providence.
Bücher zum Thema "1689-1761"
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1953-, Rivero Albert J., Hrsg. New essays on Samuel Richardson. Basingstoke: Macmillan, 1996.
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Maaouni, Jamila. Les personnages des romans de Samuel Richardson (1689-1761): Le héros et le double. Lille: A.N.R.T. Université de Lille III, 1992.
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Margaret, Doody, und Sabor Peter, Hrsg. Samuel Richardson: Tercentenary essays. Cambridge: Cambridge University Press, 1989.
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Catherine, Ingrassia, und Fielding Henry 1707-1754, Hrsg. Anti-Pamela, or, Feign'd innocence detected. Peterborough, Ont: Broadview Press, 2004.
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1940-, Blewett David, Hrsg. Passion and virtue: Essays on the novels of Samuel Richardson. Toronto: University of Toronto Press, 2001.
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Fulton, Gordon D. Styles of meaning and meanings of style in Richardson's Clarissa. Montreal: McGill-Queen's University Press, 1999.
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Bueler, Lois E. Clarissa's plots. Newark: University of Delaware Press, 1994.
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McKee, Patricia. Heroic commitment in Richardson, Eliot and James. Princeton: Princeton University Press, 1986.
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9
Lehmann, Christine. Das Modell Clarissa: Liebe, Verführung, Sexualität und Tod der Romanheldinnen des 18. und 19. Jahrhunderts. Stuttgart: J.B. Metzlersche Verlagsbuchh., 1991.
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Shepherd, Lynn. Clarissa's painter: Portraiture, illustration, and representation in the novels of Samuel Richardson. Oxford: Oxford University Press, 2009.
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McGowan, Ian. „Samuel Richardson 1689–1761“. In The Restoration and Eighteenth Century, 269–78. New York: Palgrave Macmillan US, 1989. http://dx.doi.org/10.1007/978-1-349-60485-2_17.
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2
Keymer, Thomas. „Samuel Richardson (1689–1761): The epistolary novel“. In The Cambridge Companion to European Novelists, 54–71. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.005.
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3
„Thomas Edwards (1699-1757)“. In A Century of Sonnets, herausgegeben von Paula R. Feldman und Daniel Robinson, 25. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0004.
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Abstract Thomas Edwards’s more-than-fifty sonnets were instrumental in reviving the sonnet form. After retiring from the legal profession he pursued a literary career. A serious classical scholar and friend of novelist Samuel Richardson (1689-1761), Edwards was best known for his public attack on William War burton’s (1698-1779) 1747 edition of Shakespeare’s plays, calling it sloppy and pedantic. Warburton responded by attacking Edwards in the notes to his edition of Pope’s Dunciad. In 1750, Edwards retorted with the sonnet beginning “Tongue-doughty pedant” and a mock dedication to his enlarged edition of The Canons of Criticism.