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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.Department of English
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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 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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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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Kinsley, Jamie. "Garden Doors: Tempting The Virtuous Heroine In Clarissa And Betsy Thoughtless." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002461.
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Wodzak, Victoria. "Reading dinosaur bones : marking the transition from orality to literacy in the Canterbury Tales, Moll Flanders, Clarissa, and Tristram Shandy /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9823336.
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Albin, Jennifer L. "A subject so shocking the female sex offender in Richardson's Clarissa /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4514.
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Thesis (M.A.) University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 21, 2007) Includes bibliographical references.
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Maia, Ludmila de Souza 1984. "Os descaminhos de Clarissa entre o campo e a cidade = o romance de Samuel Richardson e a Sociedade inglesa do século XVIII." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279017.
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Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências HumanasMade available in DSpace on 2018-08-17T12:05:41Z (GMT). No. of bitstreams: 1 Maia_LudmiladeSouza_M.pdf: 993926 bytes, checksum: 64b05d09592660e1a62b9845a8551faa (MD5) Previous issue date: 2011
Resumo: Este trabalho se dedica ao estudo do romance epistolar 'Clarissa, or the history of a young lady', de autoria do inglês Samuel Richardson, publicado entre os de anos 1747-48. O propósito é realizar uma pesquisa historiográfica através da interpretação da narrativa literária. A obra, objeto deste estudo, recria muitas das tensões sociais, políticas e religiosas latentes na sociedade inglesa do século XVIII. Os percalços vividos pela heroína da trama, entre o campo e a cidade, permitem analisar as relações sociais e de gênero da Inglaterra das Luzes. A trama conta a história de Clarissa, donzela d aristocracia rural inglesa que recebe a herança do avô, motivando disputas familiares. O primogênito preterido convence a família a casá-la com um homem odioso, para evitar sua independência e lucrar com o negócio. Clarissa se recusa ao matrimônio e passa a ser perseguida dentro de casa. Para escapar da tirania, ela foge para Londres com Lovelace, libertino que lhe faz a corte contra a vontade de sua família. Seu desejo de autonomia é interrompido quando seu raptor a aprisiona num bordel e a violenta. Para preservar sua vontade de virtude e a independência de seu espírito, Clarissa escolhe a morte como única saída moral possível. Com efeito, meu objetivo foi entender aquela sociedade a partir das páginas do romance, cuja análise, também, derivou de questões e referências exteriores à trama
Abstract: This work is dedicated to the novel 'Clarissa, or the history of a Young lady', written by Samuel Richardson, and published in 1747-48. My purpose was to make a historiographic research by using a literary narrative. This novel creates, in a literary way, many of the most important social, political, and religious conflicts of the Eighteenth Century English society. The mishaps of the life of the novel's protagonist, between the country and the city, allowed me to analyze the social and gender relations in the Enlightenment England. The plot tells us the story of Clarissa, an aristocratic maiden in rural England. She inherits an estate from her grandfather, which provokes a familiar disturbance. The deprecated old brother convinces the family to marry her to an odious man, to avoid her independence and to profit from the business. She refuses the marriage and her persecution begins at home. In order to escape from tyranny, she fled to London with the libertine Lovelace, who courts her against her family's will. Her wish for autonomy is interrupted when his abductor imprisons and rapes in a brothel. She wishes virtue and an independent soul, and that's why she chooses death, as the only possible way to maintain her moral intact. Indeed, my goal with this research was to understand the mentioned society from the pages of the novel,whose analysis also comes from questions and references external to the plot
Mestrado
Politica, Memoria e Cidade
Mestre em História
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Tane, Benoît. "“ Avec figures. . . ”. Roman et illustration au XVIIIe siècle : Marivaux, "La Vie de Marianne", Richardson, "Clarissa", Rousseau, "Julie ou La Nouvelle Héloïse", Rétif de la Bretonne, "Le Paysan perverti"." Montpellier 3, 2004. http://www.theses.fr/2004MON30049.
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Le roman illustré du XVIIIe siècle est une forme particulière de l'illustration et un cas exemplaire du rapport texte/image: les éditeurs-libraires européens commandaient des dessins, gravés sur cuivre au burin et à l'eau-forte puis insérés dans des ouvrages avec figures ou rassemblés en recueils d'estampes. Dépassant la bibliophilie des XVIIIe et XIXe siècles, de même que les approches rhétoriques et linguistiques qui rapportent l'image au texte (allégorie, système de l'image et mise en série des images), l'étude sémiologique du livre illustré met en évidence sa dimension visuelle en articulant le jeu des corps, des regards et de l'espace dans le texte et dans l'image, notamment dans les tableaux et les scènes. Notre approche figurale veut cerner ce qui travaille la représentation romanesque et l'imagination du lecteur-spectateur; sont explorés successivement quatre romans (Marivaux, La Vie de Marianne; Richardson, Clarissa, traduite par l'abbé Prévost sous le titre de Clarisse Harlove; Rousseau, Julie ou La Nouvelle Héloïse; Rétif de la Bretonne, Le Paysan perverti) et les séries d'illustrations publiées dans leurs éditions en français entre 1736 et 1788 (d'après Schley, Chevaux, Cochin, Gravelot, Eisen, Moreau le Jeune, Chodowiecki, Binet. . . ), complétées par d'autres images (Wale, Stothard, Johannot, Staal. . . ); le dispositif de la représentation s'appuie sur un espace double cristallisant les enjeux symboliques de ces œuvres: identité de Marianne, vertu de Clarisse, réunion de Julie et de Saint-Preux, perversion d'Edmond. Lettres et estampes du roman épistolaire participent du montage du texte et de l'image qui fait entrevoir ce que le texte refuse ou échoue à direThe 18th century illustrated novel is not only a particular feature of illustration, it also reveals text/image relations. Indeed european booksellers and publishers commitionned line engravings and etchings, inserted in books sold avec figures (with plates) or collected in volumes. Without ignoring the 18th and 19th century bibliophily nor the rhetorical and linguistic perspectives comparing image with text (allegory, iconic system, iconic paradigm), the semiotic study underlines the visuel aspect of illustrated books, thus exploring links between looks, bodies and spaces in text and image, especially in tableaux (pictures) and scenes. Our figural study is an attempt to define the issue of representation at stake in those works and to grasp the workings of reader-spectator's imagination. We analyse four novels (Marivaux, La Vie de Marianne; Richardson, Clarissa, translated by the Abbé Prévost as Clarisse Harlove; Rousseau, Julie ou La Nouvelle Héloïse; Rétif de la Bretonne, Le Paysan perverti), the series of illustrations published in their editions in french between 1736 and 1788 (after Schley, Chevaux, Cochin, Gravelot, Eisen, Moreau le Jeune, Chodowiecki, Binet. . . ) as well as other images (Wale, Stothard, Johannot, Staal. . . ). The device of representation is based on a double space focusing on symbolic questions of the novels: Marianne's identity, Clarissa's virtue, reunion between Julie and Saint-Preux, Edmond's perversion. Letters and engravings in the illustrated epistolary novel belong to the montage (setting) of text and image, which shows what the text refuses or fails to express
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Lipsedge, Karen Abigail. "Harlowe Place : representations of the domestic interior in Richardson's Clarisa." Thesis, Queen Mary, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272281.
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Richter, Josef. "Libertinage littéraire en Angleterre, en France et en Allemagne (1751-1804). Etude de trois romans épistolaires : clarisse Harlove de Richardson, Les Liaisons dangereuses de Laclos et Menander und Glycerion de Wieland." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040083.
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« Je ne vois pas pourquoi on blâmerait une fille comme Nanette, de profiter, pour mettre le plus haut prix à sa personne et à son art, de la folie et du désordre extrême de vos riches libertins ? » - s’interroge la Leontion de Wieland. Ce « désordre extrême » n’est qu’une des caractéristiques de l’existence insouciante exprimant le triomphe du libertinage des mœurs à l’époque où l’attirance des sociétés européennes pour la conduite libertine, réelle ou imaginaire, trouve son reflet dans les littératures anglaise, française et allemande. La présente thèse démontre ainsi la diversité du libertinage littéraire en Europe dans la seconde moitié du dix-huitième siècle. Les romans épistolaires Clarisse Harlove de Richardson en Angleterre, Les Liaisons dangereuses de Laclos en France et Menander und Glycerion de Wieland en Allemagne nous ont paru les meilleurs exemples afin d’esquisser cette diversité et d’en comparer les aspects. Le regard que les trois auteurs portent sur les lois de l’ordre social, la religion et les mœurs traduit une vision originale du monde. Et bien que cette vision ne dépasse pas le cadre de la fiction romanesque, l’étude de leurs œuvres met en relief un certain nombre de données propres au climat sociopolitique de l’époque tout comme des éléments autobiographiques ayant contribué à l’élaboration du modèle qui est le leur du libertin masculin ou féminin. Notre objectif est d’étudier la richesse littéraire de ce modèle de libertins et de leur conduite, d’ailleurs propre aux deux sexes, sa complexité et sa singularité en procédant par rapprochements et contrastes, similitudes et différences“I don’t see why a girl like Nanette should be blamed for profiting from the madness and extreme disorderly conduct of your libertines, in order to set the highest price to her person and her art,” Wieland’s Leontion says to herself. This “extreme disorderly conduct” is only one of the characteristics of that kind of carefree existence which is an expression of the triumph of libertine mores at a time when the fascination of European societies for libertinism, whether real or imaginary, is reflected in English, French and German Literature. The following thesis thus demonstrates the diversity of libertine literature in Europe in the second half of the XVIIIth century. In order to analyse this diversity and compare its different aspects, I have chosen three epistolary novels that I consider to be paradigms in the matter: Clarissa Harlowe by Richardson in England, Les Liaisons dangereuses by Laclos in France and Menander und Glycerion by Wieland in Germany. The implicit or explicit judgement that these three authors pass on the laws of social order, on religion, and on the mores of the period is emblematic of an original vision of the world. Although this vision is expressed within the limits of works of fiction, the study of these works highlights a number of elements that are specific to the social and political atmosphere of the time, as well as certain autobiographical elements which have contributed to the social paradigm of feminine and masculine libertinism to which they subscribe. The purpose of this thesis is to study these literary works as rich sources of information on the libertines and their conduct as an accepted social model for men and women alike, and to discuss the complexity and singular nature of this phenomenon by a differential treatment of the various themes through which it can be identified
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Conrad, Courtney A. "Tracing the Origins of the Eighteenth- and Nineteenth-Century Rake Character to Depictions of the Modern Monster." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1560014785115022.
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Yoon, Margaret S. "The Passions in the Age of Sensibility: A Study of Samuel Richardsons Clarissa and The Novels of Tobias Smollett." Thesis, University of Exeter, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506064.
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Zelen, Renata Halina. "The trial of pygmalion: twentieth-century reader response to heroines in the eighteenth-century novel, withspecial reference to Samuel Richardson's ��Clarissa'." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949241.
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Buis, Emmanuelle. "Circulations libertines dans le roman européen : 1736-1803 : étude des influences anglaises et françaises sur la littérature allemande." Paris 3, 2008. http://www.theses.fr/2008PA030063.
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Cette thèse a pour objet l’étude des influences du libertinage galant anglais et français sur la création allemande du dernier tiers du XVIIIe siècle. Le succès de diffusion outre-Rhin de quatre romans de séduction emblématiques du genre (Clarisse Harlove, Les Egarements du coeur et de l’esprit, Le Paysan perverti et Les Liaisons dangereuses), plusieurs fois traduits et commentés par la critique contemporaine, légitime la recherche d’échos au sein de la production allemande de la fin du siècle ; le recensement de preuves scientifiques d’intérêt (aveux d’influences, commentaires critiques ou intertextualité explicite) conduit à désigner six écrivains germaniques, lecteurs enthousiastes dont l’oeuvre est entrée en résonance avec la tradition du libertinage galant : Christoph Martin Wieland, Sophie von La Roche, Wilhelm Heinse, Ludwig Tieck, Clemens Brentano et Jean Paul. Révélée par la confrontation des romans allemands avec les « oeuvres sources », la reprise des motifs essentiels du libertinage galant, – typologie des personnages, stratégies de conquête et épisodes-clés des intrigues –, n’est pas dissociable d’une pratique du détournement ; l’usage parodique de certains procédés narratifs traditionnels et les jeux d’« imitation viciée » témoignent d’une prise de distance dans laquelle s’affirment à la fois l’originalité des héritiers et la sensibilité « plus germanique » d’une littérature en plein essor. Réorientant de manière significative certains principes fondamentaux de la quête galante, les dernières oeuvres allemandes infléchissent la doctrine libertine initiale et ouvrent sur de nouvelles interrogations existentielles, qui annoncent les figures désenchantées du XIXe siècleThis dissertation is a study of the influence of “gallant” libertine literature from England and France on German literary creation in the last three decades of the 18th century. The number of translations and critical commentaries which appeared at the time testifies to the successful impact in Germany of four novels of seduction, the very emblems of the genre, namely Clarissa Harlowe, Les Égarements du coeur et de l’esprit, Le Paysan perverti and Les Liaisons dangereuses. It is therefore legitimate to search for echoes of those works in the German production of the late 18th century. The survey of scientific evidence of the attention paid to those novels (openly acknowledged influence, critical comments or explicit marks of intertextuality) results in the selection of six German writers, also enthusiastic readers of the books, whose works display a reflection of the tradition of “gallant” libertine literature, viz. Christoph Martin Wieland, Sophie von La Roche, Wilhelm Heinse, Ludwig Tieck, Clemens Brentano and Jean Paul. The confrontation between the German novels and the “sources” reveals the presence of the main motifs of “gallant” libertine literature: typology of characters, strategy of seduction and key phases in the plot. Yet it is inseparable from a systematic use of distortion. The parody of a series of narrative techniques and the recourse to “perverted imitation” bear witness to a process of distanciation in which both the originality of the literary heirs and the specifically German sensibility of a fast expanding literature assert themselves. By giving new directions to certain fundamental principles of the libertine quest, the latest German works in the corpus alter the initial libertine doctrine and pave the way for new areas of existential questions, thus foreshadowing the disillusioned artistic figures of the 19th century
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Rain, David Christopher. "The death of Clarissa : Richardson's Clarissa and the critics / by David Christopher Rain." Thesis, 1988. http://hdl.handle.net/2440/18573.
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Pigeon, Elaine. "A Foucaultian reading of the constitution of female sexuality in Samuel Richardson's Pamela and Clarissa." Thesis, 1994. http://spectrum.library.concordia.ca/6144/1/MM97644.pdf.
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