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Books on the topic 'Clarissa (Richardson, Samuel)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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

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2

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

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3

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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4

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

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5

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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6

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

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7

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

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8

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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9

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

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10

Shepherd, Lynn. Clarissa's painter: Portraiture, illustration, and representation in the novels of Samuel Richardson. Oxford: Oxford University Press, 2009.

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11

Shepherd, Lynn. Clarissa's painter: Portraiture, illustration, and representation in the novels of Samuel Richardson. New York: Oxford University Press, 2009.

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12

Shepherd, Lynn. Clarissa's painter: Portraiture, illustration, and representation in the novels of Samuel Richardson. Oxford: Oxford University Press, 2009.

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13

Bueler, Lois E. Clarissa's plots. Newark: University of Delaware Press, 1994.

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14

Glaser, Brigitte. The body in Samuel Richardson's Clarissa: Contexts of and contradictions in the development of character. Heidelberg: C. Winter, 1994.

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15

Karpuk, Susan Price. Samuel Richardson's Clarissa: An index : analyzing characters, subjects, and place names, with summaries of letters appended. New York: AMS Press, 2000.

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16

Cummings, Katherine. Telling tales: The hysteric's seduction in fiction and theory. Stanford, Calif: Stanford University Press, 1991.

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17

Karpuk, Susan Price. Samuel Richardson's Clarissa: An index : analyzing characters, subjects, and place names, with summaries of letters appended : based on the Penguin Classics edition, 1985, "a complete text of the first edition". New York: AMS Press, 2000.

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18

Samuel, Richardson, and Paula Benitez. Clarissa Volumen V Samuel Richardson. CreateSpace Independent Publishing Platform, 2017.

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19

Samuel, Richardson, and Sir Leslie Stephen. Works Of Samuel Richardson: The History Of Clarissa Harlowe. Arkose Press, 2015.

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20

Samuel, Richardson. The Works Of Samuel Richardson: The History Of Clarissa Harlowe... Nabu Press, 2012.

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21

Dussinger, John. Samuel Richardson and the Epistolary Novel. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.011.

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Despite having turned 50 before publishing his first novel, Samuel Richardson’s literary career began already in his youth as a precocious letter-writer and developed during the 1720s after launching his London printing business. Richardson’s letter-writing style stresses continual flux as living experience, and this emphasis on temporality is continued in his three experimental ‘histories’ of characters struggling under the pressure of momentary perceptions. As a ‘dramatic’ novel, Clarissa exploits the resources of theatrical presentation as direct discourse and of narrative storytelling as indirect and free indirect discourse. Its epistolary form obviates an omniscient narrator and, except for an occasional ‘editor’, depends wholly on the individual voices that comprise piecemeal the story. This focus on temporality, however, has ultimately a religious and moral dimension: beyond the sound and the fury of present time is an intimation of eternal order.

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22

Samuel, Richardson. The History Of Clarissa Harlow V3: The Novels Of Samuel Richardson. Kessinger Publishing, LLC, 2007.

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23

Barbauld and Richardson Samuel. Correspondence of Samuel Richardson 6 Volume Set: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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24

Castle, Terry. Clarissa's Ciphers: Meaning and Disruption in Richardson's Clarissa. Cornell University Press, 2016.

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25

Castle, Terry. Clarissa's Ciphers: Meaning and Disruption in Richardson's Clarissa. Cornell University Press, 2016.

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26

Correspondence of Samuel Richardson: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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27

Correspondence of Samuel Richardson: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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28

Correspondence of Samuel Richardson: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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29

Correspondence of Samuel Richardson: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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30

Correspondence of Samuel Richardson: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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31

Correspondence of Samuel Richardson: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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32

Writings of Samuel Richardson: Clarissa, or the History of a Young Lady. Creative Media Partners, LLC, 2023.

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33

Writings of Samuel Richardson: Clarissa, or the History of a Young Lady. Creative Media Partners, LLC, 2023.

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34

Downie, J. A. Clarissa and Tom Jones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0034.

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This chapter further examines the creative and critical dialogue between Samuel Richardson and Henry Fielding. From the publication of the two original volumes of Pamela: or, Virtue Rewarded in November 1740 onwards, Fielding responded not only to the subject matter of Richardson's fiction, but also to what he regarded as shortcomings in his narrative technique. He takes particular note of Richardson's use of the epistolary form. According to Ian Watt, the private letter provides the ‘nearest record...in ordinary life’ of ‘this minute-by-minute content of consciousness which constitutes what the individual's personality really is, and dictates his relationship to others’. Yet this belief about letters tends to downplay, if not discount altogether, not merely the disadvantages of what one of Richardson's characters (Lovelace) calls ‘this lively present-tense manner’, but also the full complexity of his narrative method in Clarissa (1747–8).

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35

Fulton, Gordon. Styles of Meaning and Meanings of Style in Richardson's Clarissa. McGill-Queen's University Press, 1999.

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36

Taylor, E. Derek. Reason and Religion in Clarissa: Samuel Richardson and 'the Famous Mr. Norris, of Bemerton'. Taylor & Francis Group, 2017.

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37

Barbauld and Richardson Samuel. Correspondence of Samuel Richardson : Volume 5: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2012.

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38

Reason and religion in Clarissa: Samuel Richardson and 'The famous Mr. Norris, of Bemerton!'. Aldershot, England: Ashgate Pub., 2009.

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39

Taylor, E. Derek. Reason and Religion in Clarissa: Samuel Richardson and 'the Famous Mr. Norris, of Bemerton'. Taylor & Francis Group, 2017.

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40

Barbauld and Richardson Samuel. Correspondence of Samuel Richardson : Volume 4: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2012.

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41

Barbauld and Richardson Samuel. Correspondence of Samuel Richardson : Volume 6: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2012.

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42

Taylor, E. Derek. Reason and Religion in Clarissa: Samuel Richardson and 'the Famous Mr. Norris, of Bemerton'. Taylor & Francis Group, 2017.

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43

Barbauld and Richardson Samuel. Correspondence of Samuel Richardson : Volume 3: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2012.

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44

Barbauld and Richardson Samuel. Correspondence of Samuel Richardson : Volume 2: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2011.

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45

Taylor, E. Derek. Reason and Religion in Clarissa: Samuel Richardson and 'the Famous Mr. Norris, of Bemerton'. Taylor & Francis Group, 2017.

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46

Barbauld and Richardson Samuel. Correspondence of Samuel Richardson : Volume 1: Author of Pamela, Clarissa, and Sir Charles Grandison. Cambridge University Press, 2012.

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47

Beebee, Thomas O. Clarissa On The Continent. Pennsylvania State University Press, 1986.

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48

Richardson, Samuel. Correspondence with Lady Bradshaigh and Lady Echlin. Edited by Peter Sabor. Cambridge University Press, 2016. http://dx.doi.org/10.1017/9781316535905.

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Samuel Richardson (1689–1761), renowned English novelist and master printer, was also a prolific letter writer. The Cambridge Edition of the Correspondence of Samuel Richardson is the first complete edition of his letters. These three volumes contain his correspondence, much of it published for the first time, with two fascinating women: Dorothy, Lady Bradshaigh (1705–85) and her sister Elizabeth, Lady Echlin (1704–82). Lady Bradshaigh was Richardson's most prolific and important correspondent, challenging him about a range of issues, literary and otherwise, including his intentions for Clarissa and Sir Charles Grandison, in an iconoclastic style. Lady Echlin lived in Ireland for much of her life and provided Richardson with information on Irish issues, including the Dublin editions of his novels. The scholarly apparatus in this volume furnishes a wealth of material about these women's lives and their milieu, affording many insights into eighteenth-century English and Irish social and literary history.

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49

Richardson, Samuel. Correspondence with Aaron Hill and the Hill Family. Edited by Christine Gerrard. Cambridge University Press, 2013. http://dx.doi.org/10.1017/9780521872737.

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Samuel Richardson (1689–1761) was an established master printer when, at the age of 51, he published his first novel, Pamela, and immediately became one of the most influential and admired writers of his time. Not only were all Richardson's novels written in epistolary form: he was also a prolific letter-writer himself. This volume in the first ever full edition of Richardson's correspondence includes his letters to and from Aaron Hill, the poet, dramatist and entrepreneur (1685–1750). Hill was Richardson's earliest literary friend and advisor as he embarked on a new career as a novelist. This correspondence offers fascinating insight into the compositional processes not just of the two Pamela novels, but of Richardson's later novels Clarissa and The History of Sir Charles Grandison. The volume also contains Richardson's correspondence with Hill's three literary daughters, which forms an invaluable chapter in the history of women's writing and literary criticism.

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50

Lockwood, Thomas. The Pamela Debate. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0033.

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This chapter examines a decisive period in English literary history during the 1740s. This decade saw Samuel Richardson and Henry Fielding falling into an unplanned but extraordinary artistic competition that would open two vital channels of production in the novel-writing to come: in Richardson's case toward the representation of inward experience as if mediated by no external authority, in Fielding's toward worldly experience as if mediated wholly by an authoritative storyteller. They did not compete in the usual sense, but such was their entangled proximity it nevertheless seemed a contest. The decade began with Richardson's Pamela (1740), followed by Fielding's Joseph Andrews (1742), and ended with Richardson's Clarissa (1747–8) and Fielding's Tom Jones (1749). This second pair of novels has long since established itself as the more powerful of the two, rightly enough, but against any other novels of the period the first would easily command superiority.

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