Relevant bibliographies by topics / Clarissa (Richardson, Samuel)

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Academic literature on the topic 'Clarissa (Richardson, Samuel)'

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Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Clarissa (Richardson, Samuel)"

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Andindilile, Michael. "Messenger and Pupils of Death in Samuel Richardson’s Clarissa." Umma: The Journal of Contemporary Literature and Creative Art 8, no. 1 (December 2021): 68–83. http://dx.doi.org/10.56279/ummaj.v8i1.5.

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This article looks at the didacticism associated with death that Samuel Richardson carefully crafted in Clarissa at a time when religion very much had a stronghold on the psyche of the society reading the work, but which still resonates with the contemporary world’s religious informed good dying and bestial dying, which the Tom captures in connection with the varying deaths of characters in the epistolary novel. The article demonstrates how the novel uses these characters to pass on the didacticism on good/evil living and attendant dying. Its argument is that the novel encourages people to live well to die well. In this regard, the novel’s themes emerges to be timeliness and relevant to the contemporary period.
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Fanning, Christopher. "Clarissa: or the History of a Young Lady by Samuel Richardson." Scriblerian and the Kit-Cats 42, no. 1 (2009): 73–74. http://dx.doi.org/10.1353/scb.2009.0048.

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Donaldson, Ian, and Terry Eagleton. "The Rape of Clarissa: Writing, Sexuality and Class Struggle in Samuel Richardson." Yearbook of English Studies 16 (1986): 262. http://dx.doi.org/10.2307/3507803.

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Sabor, Peter. "Rewriting Clarissa: Alternative Endings by Lady Echlin, Lady Bradshaigh, and Samuel Richardson." Eighteenth-Century Fiction 29, no. 2 (January 2017): 131–50. http://dx.doi.org/10.3138/ecf.29.2.131.

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Dachez, Hélène. "L’écho et l’écart : la voix narrative dans Clarissa (1747-48) de Samuel Richardson." Cahiers de Narratologie, no. 10.1 (January 1, 2001): 335–45. http://dx.doi.org/10.4000/narratologie.6961.

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Carnell, Rachel. "Clarissa. Or, the History of a Young Lady (An Abridged Edition) by Samuel Richardson." Scriblerian and the Kit-Cats 45, no. 2 (2013): 251–53. http://dx.doi.org/10.1353/scb.2013.0019.

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Boborykina, Tatiana A. "Tarnished Virtues: From Richardson to Beardsley." Dostoevsky and World Culture. Philological journal, no. 3 (2021): 98–120. http://dx.doi.org/10.22455/2619-0311-2021-3-98-120.

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The starting point of the article is a statement about “tarnished virtues” by one of the characters of Poor Folk, Fyodor Dostoevsky’s first novel. The word combination evokes various associations, allusions, and numerous variants of interpretation. A remark on virtues made in the frame of an epistolary novel immediately recalls the novels of a coryphaeus of the genre, 18th-Century English writer Samuel Richardson, especially his first one, in which the word “virtue” appears in the title – Pamela Or, Virtue Rewarded. However, Richardson’s comprehension of virtue seems to be quite narrow, a fact that had been already noticed by his contemporary writer Henry Fielding, who wrote a parody on Pamela. A brief analysis of the parody discovers a common vision on the nature of virtue by both Fielding and Dostoevsky, which becomes even clearer when one finds out their mutual reference point – Cervantes’ Don Quixote. The article explores other novels by Richardson, his influence upon European literature as well as his inner correlation with such writers as Karamzin and Pushkin. Besides, the article investigates the question – raised by its author some years ago – of a certain similarity between the plotlines of Clarissa and Poor Folk, the appearance of “Lovelace” in Dostoevsky’s first book, and the sudden turn of the plot from Richardson’s glorification of virtue to Dostoevsky’s dramatic realism. A few interpretations of Poor Folk are briefly analyzed, including that of Aubrey Beardsley, who illustrated the novel. Several explanations of the sentence on “tarnished virtues” are explored, and finally, the author offers a new one.
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Boborykina, Tatiana A. "Tarnished Virtues: From Richardson to Beardsley." Dostoevsky and world culture. Philological journal, no. 3 (2021): 98–120. http://dx.doi.org/10.22455/2541-7894-2021-3-98-120.

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The starting point of the article is a statement about “tarnished virtues” by one of the characters of Poor Folk, Fyodor Dostoevsky’s first novel. The word combination evokes various associations, allusions, and numerous variants of interpretation. A remark on virtues made in the frame of an epistolary novel immediately recalls the novels of a coryphaeus of the genre, 18th-Century English writer Samuel Richardson, especially his first one, in which the word “virtue” appears in the title – Pamela Or, Virtue Rewarded. However, Richardson’s comprehension of virtue seems to be quite narrow, a fact that had been already noticed by his contemporary writer Henry Fielding, who wrote a parody on Pamela. A brief analysis of the parody discovers a common vision on the nature of virtue by both Fielding and Dostoevsky, which becomes even clearer when one finds out their mutual reference point – Cervantes’ Don Quixote. The article explores other novels by Richardson, his influence upon European literature as well as his inner correlation with such writers as Karamzin and Pushkin. Besides, the article investigates the question – raised by its author some years ago – of a certain similarity between the plotlines of Clarissa and Poor Folk, the appearance of “Lovelace” in Dostoevsky’s first book, and the sudden turn of the plot from Richardson’s glorification of virtue to Dostoevsky’s dramatic realism. A few interpretations of Poor Folk are briefly analyzed, including that of Aubrey Beardsley, who illustrated the novel. Several explanations of the sentence on “tarnished virtues” are explored, and finally, the author offers a new one.
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Loretelli, Rosamaria. "Lettere su Clarissa. Scrittura privata e romanzo nell'"Epistolario" di Samuel Richardson (review)." Eighteenth-Century Fiction 24, no. 3 (2012): 563–65. http://dx.doi.org/10.1353/ecf.2012.0011.

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Barchas, Janine. "New Essays on Samuel Richardson, and: The Work(s) of Samuel Richardson, and: Speaking in Hunger: Gender, Discourse, and Consumption in "Clarissa", and: Samuel Richardson's New Nation: Paragons of the Domestic Sphere and "Native" Virtue (review)." Eighteenth-Century Studies 33, no. 3 (2000): 471–74. http://dx.doi.org/10.1353/ecs.2000.0020.

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Dissertations / Theses on the topic "Clarissa (Richardson, Samuel)"

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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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Daphinoff, Dimiter. "Samuel Richardsons "Clarissa" : Text, Rezeption und Interpretation /." Bern : Francke Verl, 1986. http://catalogue.bnf.fr/ark:/12148/cb34933974v.

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Ho, Poi-yan Ingrid. "Raping mail/males : reading and writing in Clarissa /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19712339.

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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.
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Nicklas, Pascal. "The school of afflication : Gewalt und Empfindsamkeit in Samuel Richardsons "Clarissa /." Hildesheim : G. Olms, 1996. http://catalogue.bnf.fr/ark:/12148/cb39245951c.

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Glaser, Brigitte. "The body in Samuel Richardson's "Clarissa" : contexts of and contradictions in the development of character /." Heidelberg : C. Winter, 1994. http://catalogue.bnf.fr/ark:/12148/cb357455925.

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Wakely, Alice Elizabeth. "Author and editor in the works of Samuel Richardson." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342761.

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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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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 communications
The 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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Howard, Jeffrey G. "Transcending the Material Self: Reading Ghosts in Samuel Richardson's Novel Clarissa." DigitalCommons@USU, 2013. https://digitalcommons.usu.edu/etd/1501.

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This thesis presents an analysis of the ghosts in Samuel Richardson’s 1747-48 novel Clarissa, and synthesizes traditional literary criticism on that novel with British folklore and ghost traditions. It examines the novel historically and demonstrates that Richardson’s novelistic approach changed between 1740 when he wrote Pamela and 1747 when he began writing Clarissa in that he relies on the ghost image to discuss the complexities of individual identity. In Clarissa, Richardson outdoes his previous attempt at depicting reality in Pamela because his use of the ghost motif allows the audience to see beyond the physical reality of the plot into the spiritual depths of the human heart. Clarissa involves the journey of a young woman attempting to establish a sense of identity and selfhood, and the ghosts of the novel supply a lens for interpreting her course toward a sense of self that transcends the material world, its wants, its objectives, its myriad institutions, and the identity she has constructed by association with those entities.
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Books on the topic "Clarissa (Richardson, Samuel)"

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Nerozzi, Patrizia Bellman. Virtù e malinconia: Studi su Clarissa di Samuel Richardson. [Milan, Italy]: Marcos y Marcos, 1990.

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Höhn, Simone Eva. One great family: Domestic relationships in Samuel Richardson's novels. Tübingen: Narr Francke Attempto, 2020.

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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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Beebee, Thomas O. Clarissa on the Continent: Translation and seduction. University Park: Pennsylvania State University Press, 1990.

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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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Frega, Donnalee. Speaking in hunger: Gender, discourse, and consumption in Clarissa. Columbia, S.C: University of South Carolina Press, 1998.

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Samuel, Richardson. Samuel Richardson's published commentary on Clarissa. London: Pickering and Chatto, 1998.

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Hinton, Laura. The perverse gaze of sympathy: Sadomasochistic sentiments from Clarissa to Rescue 911. Albany: State University of New York Press, 1999.

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Tom, Keymer, ed. Samuel Richardson's published commentary on Clarissa, 1747-65. London: Pickering & Chatto, 1998.

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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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Book chapters on the topic "Clarissa (Richardson, Samuel)"

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Glaser, Brigitte. "Richardson, Samuel: Clarissa, or The History of a Young Lady." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16935-1.

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Taylor, E. Derek. "Un-Locke-ing Samuel Richardson." In Reason and Religion in Clarissa, 33–75. Routledge, 2017. http://dx.doi.org/10.4324/9781351150767-2.

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Shepherd, Lynn. "Introduction." In Clarissa’s Painter, 1–9. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199566693.003.0001.

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Abstract This is Aaron Hill’s daughter, Urania Johnson, paying poetic tribute to her father’s friend, Samuel Richardson, the celebrated ‘author of Clarissa’. The most striking thing about this otherwise rather ordinary verse is Johnson’s insistence that Richardson’s texts operate upon the reader as ‘Paintive Art’—as ‘active Pictures’ that are ‘Turgid with speaking Life, and thinking Woe’. Since Mark Kinkead-Weekes’s influential 1973 study it has been a critical commonplace to view Richardson as a ‘dramatic novelist’, and Clarissa in particular has been praised for its ability to ‘achieve the equivalent in the novel to the experience of drama’.
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Shepherd, Lynn. "Conclusion." In Clarissa’s Painter, 232–47. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199566693.003.0007.

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Abstract There is both sense and suitability in the fact that our discussion of Samuel Richardson should have ended by projecting forwards to Jane Austen. Austen was not only a great admirer of Richardson—and of Grandison in particular—but his most obvious and significant literary heir, reinventing the sentimental novel’s repertoire of characters and situations for the early nineteenth century, in sharper focus and more incisive prose. Many critics have discussed Richardson’s influence on Austen: in the recent Cambridge edition of Austen’s works Jane Stabler summarizes Richardson’s influence in terms of ‘characters, situations, narrative tensions, and a consuming fascination for the inner life’, and Jocelyn Harris has written a particularly comprehensive study of the way that ‘[Austen] builds her books’ out of ‘commentary on Richardson’. In my view the parallels are, if anything, even deeper than this, and go beyond character and situation to narrative technique and scenic form. It is no coincidence that Mansfield Park (1814) is not only Jane Austen’s most Richardsonian novel, but one that is organized according to exactly the same principles of spatial and visual representation that we have seen the same degree of control as his exemplar exercises, he certainly does resemble Sir Charles in his readiness to assume mediatory roles—roles that place him in the same triangular relationships as we have observed operating in Grandison.
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Ferguson, Frances. "Persuasion." In Persuasion after Rhetoric in the Eighteenth Century and Romanticism, 103–20. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191954474.003.0009.

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Abstract “Persuasion: Oratory and the Novel” opens by considering Adam Smith’s disparagement of Cicero for highlighting his own authority. While it is not clear that Samuel Richardson knew of Smith’s thinking at the time he was writing and publishing Clarissa, Smith’s discussion chimes with Richardson’s recessive authorship and promotion of the words of the characters themselves to centrality. Moreover, Richardson’s work as the printer of record for the House of Commons would have made him acquainted with the expansion of court reporting as Thomas Gurney launched it with shorthand in the Old Bailey, capturing the exact words of a range of different speakers. Shorthand technology, once a means for preserving the words of a few, became the means of preserving the exact words of many. It also forwarded Richardson in developing Clarissa as a high-water mark for the multi-voiced novel.
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"6. Action and Inaction in Samuel Richardson’s Clarissa." In Actions and Objects from Hobbes to Richardson, 194–232. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804775120-009.

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Shepherd, Lynn. "Richardson’s First Portrait." In Clarissa’s Painter, 50–57. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199566693.003.0003.

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Abstract There are five extant and authentic portraits of Samuel Richardson, all painted, as far as we can tell, between the early 1740s and the mid-1750s.1 The period spanned by the paintings thus correlates almost exactly with Richardson’s career as a novelist, which begins with Pamela in 1740 and ends with the final volumes of Grandison in 1754. And the fact that the portraits were all painted in the middle decades of the eighteenth century means that the production of these images coincides with a new and unprecedented level of debate about the function and meaning of portraiture. Thus at the time when Richardson was commissioning his own paintings, it was possible for the first time for such images to participate in two very different visual discourses and draw resonance from them both: from formal public portraiture on the one hand, to intimate private likenesses on the other. In fact Richardson’s five portraits mark an extraordinarily precise trajectory between these two extremes, from Highmore’s ‘feigned oval’ half-length now in the National Portrait Gallery, which may have been intended to hang in a literary ‘gallery of worthies’, to the small full-length portrait the same artist painted for Richardson’s friend Lady Bradshaigh, which includes within it an image of its intended spectator.2 The latter is one example of the portrait as private ‘relic’; another, equally intense, is the first of the five, Hayman’s conversation piece of the novelist and his family, now in Tate Britain (Figure 2.1).
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Shepherd, Lynn. "Eighteenth-Century Portraiture." In Clarissa’s Painter, 10–49. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199566693.003.0002.

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Abstract In December 1751 Sophia Westcomb wrote to her long-standing friend and correspondent Samuel Richardson, describing an evening she had just enjoyed with his ‘admirable and worthy Nieces’: I had not only the satisfaction of having my Dear Papa, and his works, made choice of as the most pleasing subject for our conversation, but had likewise the additional one of beholding yr Person; yes sure it was your very self; for I think no coppy could ever be so like, however Mr Leake made me observe that it did not actually breathe, and was also enclosd in a frame with a Glass before it; the underwritten Lines are no less a Picture of yr Mind. I have seen one of these Prints at Mrs Jodrells, and earnestly wished for one, but was at a loss for the means. I found you would not give it unaskd and my modesty hindered me from that.
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Robinson, Benedict S. "The Art of Moving." In Passion's Fictions from Shakespeare to Richardson, 156–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869177.003.0006.

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“The Art of Moving” turns to an eighteenth-century culture of the sentiments, traditionally seen in strong contrast to a Renaissance culture of the passions. I argue instead that, from the standpoint of rhetoric, the discourses on affectivity from 1500 to 1800 constitute parts of a single, unfolding process. The chapter traces the influence of rhetoric on Shaftesbury, Hume, and Smith, arguing that empiricist models of the mind are built on a rhetorical concern with vivid, forceful, and passionate imagery, and that such models effectively introject a rhetorical scene into the mind. The chapter then turns to Samuel Richardson’s Clarissa—traditionally the exemplary instance of a new, “psychological” fiction—in order to argue that the novel’s psychology is in fact an externalist, rhetorical one that resists any clear distinction between character-driven and plot-driven fictions. Richardson’s novel opens up a series of concerns that reach deep into the material of both this chapter and the previous one: about post-Hobbesian accounts of the will as determined by passions; about circumstantial narrative as a means of not just representing but also exploiting that determination; about empiricism collapsing into a Gorgian rhetoric in which the very effort to promote an ethics of natural sentiment introduces a quasi-mechanistic model of the human being. In its final pages, the chapter turns to Smith’s lectures on rhetoric and Giambattista Vico’s New Science to argue that, between 1600 and 1800, literary history was becoming legible as the material of a cultural history of the passions.
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Kaliberda, Nataliia. "TOPOS OF THE ESTATE, THE FATE OF THE HEROINE IN THE NOVELS «PAMELA, OR VIRTUE REWARDED» AND «CLARISSA, OR THE HISTORY OF A YOUNG LADY» BY SAMUEL RICHARDSON." In Іншомовна комунікація: інноваційні та традиційні підходи. Випуск 2, 164–92. Primedia eLaunch LLC, 2022. http://dx.doi.org/10.36074/ikitp.monograph-2022.08.

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The complex image of artistic space in Samuel Richardson’s novels «Pamela, or Virtue Rewarded» and «Clarissa, or the History of a Young Lady», defining the plot through the concepts of road, estate, house, interior realities, natural topos, their limits, is analyzed in the chapter. The opposition «house-home», the theme of the distance between the heroes of different social status, the allegorical motive of the boundary: a locked door / an open window, are accentuated. The semantics of the locus of the stairs, the hallway, interior passages, destroying the stability of the social hierarchy of characters, is considered. Attention is focused on the ways of deploying of artistic space and time in the novels, the spatial and temporal markers as symbols. The concepts of the characters, the methods of creating the world of heroes, as well as the mechanism of the plot, are examined. Previously slightly outlined themes of gender relations in the family, the regulation of manners in London and province, the issues of woman’s fate, rights, freedom, and the possibility of self-realization are being actualized.
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