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Clarissa - An Abridged Edition
This classic novel tells the story, in letters, of the beautiful and virtuous Clarissa Harlowe’s pursuit by the brilliant, unscrupulous rake Robert Lovelace. The epistolary structure allows Richardson to create layered and fully realized characters, as well as an intriguing uncertainty about the reliability of the various “narrators.” Clarissa emerges as a heroine at once rational and passionate, self-sacrificing and defiant, and her story has gripped readers since the novel’s first publication in 1747–48. This new abridgment is designed to retain the novel’s rich characterizations and relationships, and reproduces individual letters in their entirety whenever possible. This Broadview Edition provides a uniquely accessible entry point for readers, while retaining much of the powerful reading experience of the complete novel.
Graphic Design, Print Culture, and the Eighteenth-Century Novel
The uniformity of the eighteenth-century novel in today's paperbacks and critical editions no longer conveys the early novel's visual exuberance. Janine Barchas explains how during the genre's formation in the first half of the eighteenth century, the novel's material embodiment as printed book rivalled its narrative content in diversity and creativity. Innovations in layout, ornamentation, and even punctuation found in, for example, the novels of Richardson, an author who printed his own books, help shape a tradition of early visual ingenuity. From the beginning of the novel's emergence in Britain, prose writers including Daniel Defoe, Jonathan Swift, and Henry and Sarah Fielding experimented with the novel's appearance. Lavishly illustrated with more than 100 graphic features found in eighteenth-century editions, this important study aims to recover the visual context in which the eighteenth-century novel was produced and read.
Making Mind
Making Mind: Moral Sense and Consciousness in Philosophy, Science, and Literature posits the genesis of narrative as an adaptive function stemming from consciousness and moral sense. The book is unique with its idea of the individual character evolving narrative in relation to the group. Central to the argument is the claim that prehistorically, consciousness and moral sense intersected to form narrative. More than addressing the origin of story, the book examines and explains the evolution of narrative. The book is an interesting study of how our species-inherited moral sense can differ dramatically from one individual to another. While mores pertain to a group, narrative comes from and is processed by the individual and reaches its high point in the novel. We see how the moral sense works in characters as a monitor, and we feel it operating in us as readers in terms of approval, or not.
The Boundaries of Fiction
Focusing on canonical works by Daniel Defoe, Henry Fielding, Laurence Sterne, and others, this book explains the relationship between British fiction and historical writing when both were struggling to attain status and authority. History was at once powerful and vulnerable in the empiricist climate of seventeenth- and eighteenth-century England, suspect because of its reliance on testimony, yet essential if empiricism were ever to move beyond natural philosophy. The Boundaries of Fiction shows how, in this time of historiographical instability, the British novel exploited analogies to history. Titles incorporating the term ?history,? pseudo-editors presenting pseudo-documentary ?evidence,? ...
The Cambridge Companion to English Novelists
A survey of the most important British novelists of the past 250 years, for students of British fiction.
Born Yesterday
The early novel was not the coming-of-age story we know today—eighteenth-century adolescent protagonists remained in a constant state of arrested development, never truly maturing. Between the emergence of the realist novel in the early eighteenth century and the novel's subsequent alignment with self-improvement a century later lies a significant moment when novelistic characters were unlikely to mature in any meaningful way. That adolescent protagonists poised on the cusp of adulthood resisted a headlong tumble into maturity through the workings of plot reveals a curious literary and philosophical counter-tradition in the history of the novel. Stephanie Insley Hershinow's Born Yesterday ...
Clarissa
From the Publisher: Written entirely in letters, this novel conveys the nuances and tensions only present in personal epistolary form. The virtuous but self-deceiving Clarissa and the charming villain Lovelace haunt the imagination as fully as Romeo and Juliet or Tristan and Isolde.
The Encyclopedia of British Literature, 3 Volume Set
Provides a comprehensive overview of all aspects of the poetry, drama, fiction, and literary and cultural criticism produced from the Restoration of the English monarchy to the onset of the French Revolution Comprises over 340 entries arranged in A-Z format across three fully indexed and cross-referenced volumes Written by an international team of leading and emerging scholars Features an impressive scope and range of subjects: from courtship and circulating libraries, to the works of Samuel Johnson and Sarah Scott Includes coverage of both canonical and lesser-known authors, as well as entries addressing gender, sexuality, and other topics that have previously been underrepresented in traditional scholarship Represents the most comprehensive resource available on this period, and an indispensable guide to the rich diversity of British writing that ushered in the modern literary era 3 Volumes www.literatureencyclopedia.com
Clarissa's Plots
This study also examines the connections among the plots: how Clarissa's self-scrutinizing response to the pressures of test and trial, and her refusal to achieve respectability at the expense of her integrity, is explained by her pursuit of Christian prudence; and how Lovelace's inability to fathom the disappearance of his tempter function after the rape, as well as his inability to respond as does Belford to Clarissa's exemplary influence, is an expression of his nature as protagonist in the Don Juan plot. Richardson conducts all three plots concurrently, Bueler demonstrates, by exploiting the psychologically and dramatistically rich resources of simultaneous dialogue and soliloquy inherent in the epistolary genre.
