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

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Yount, Janet Aikins. "Clarissa's Painter: Portraiture, Illustration, and Representation in the Novels of Samuel Richardson (review)." Studies in the Novel 42, no. 4 (2011): 489–91. http://dx.doi.org/10.1353/sdn.2011.0008.

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12

Dachez, Hélène. "Le proche et le lointain dans Clarissa (1747-1748) de Samuel Richardson : entre sens et contre-sens." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 52, no. 1 (2001): 173–87. http://dx.doi.org/10.3406/xvii.2001.1569.

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13

Steele, Kathryn. "Reason and Religion in “Clarissa”: Samuel Richardson and “The Famous Mr. Norris, of Bemerton” (review)." Eighteenth Century Fiction 22, no. 2 (2009): 390–93. http://dx.doi.org/10.1353/ecf.0.0119.

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14

Budd, Adam. "Reason and Religion in “Clarissa”: Samuel Richardson and “The Famous Mr. Norris, of Bemerton” (review)." Scriblerian and the Kit-Cats 45, no. 1 (2012): 53–55. http://dx.doi.org/10.1353/scb.2012.0030.

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15

Latimer, Bonnie. "Reason and Religion in 'Clarissa': Samuel Richardson and 'the Famous Mr. Norris, of Bemerton' by E. Derek Taylor." Modern Language Review 105, no. 3 (2010): 843–45. http://dx.doi.org/10.1353/mlr.2010.0082.

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16

Roberts, David. "Reviews : Terry Eagleton, The Rape of Clarissa. Writing, Sexuality and Class Struggle in Samuel Richardson. Blackwell, Oxford, 1982." Thesis Eleven 15, no. 1 (August 1986): 140–44. http://dx.doi.org/10.1177/072551368601500118.

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17

Deanda-Camacho, Elena. "Fanny Hill, la pornografía y la novela sentimental: el eslabón faltante en la gesta de la novela inglesa dieciochesca." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 3 (February 11, 2021): 38–56. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2021.3.1270.

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Este artículo analiza la manera en la cual la novela inglesa Fanny Hill (1748) de John Cleland sintetiza el idealismo cervantino, propio de la novela sentimental, y el realismo, heredero de la picaresca femenina. Al situar esta obra en la gesta de la novela dieciochesca inglesa, especialmente frente a las obras de Samuel Richardson y en constante diálogo con el legado picaresco y cervantino, Fanny Hill emerge como una novela compleja, metaficticia y reflexiva. En su reflexividad, Cleland se enfoca en analizar los mecanismos de la novela en general y de la novela pornográfica en particular. Los mecanismos que se destacan son la reflexión sobre el ejercicio literario, el registro lingüístico y la recepción. Sobre todo, Fanny —como “narradora”— se detiene a analizar con detalle el savoir faire de la novela pornográfica en la cual el tema central del sexo, en cuanto mecánico y repetitivo, exige una narrativa mecánica y repetitiva. Finalmente, el artículo destaca la complicada agencia simbólica, literaria, económica y de género, que despliega la “narradora” Fanny ante otras protagonistas de la novela inglesa, como Pamela o Clarissa. Al enfatizar la síntesis que la novela hace del idealismo y del realismo, así como su constante reflexividad, arguyo que Fanny Hill debe ser considerada más que una obra exclusivamente pornográfica y entrar en el canon de la novela inglesa del dieciocho.

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18

Callis, Jonathan P. "Allegories of Error in Samuel Richardson's Clarissa." SEL Studies in English Literature 1500-1900 58, no. 3 (2018): 613–32. http://dx.doi.org/10.1353/sel.2018.0024.

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19

Persons, Annie. "Gendered Violence and Verse Citation in Richardson's Clarissa." SEL Studies in English Literature 1500-1900 61, no. 3 (June 2021): 407–27. http://dx.doi.org/10.1353/sel.2021.a903387.

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Abstract: This article analyzes the relationship between verse citation and gendered violence in Samuel Richardson's Clarissa (1747–48). While critics have shown the influence of women writers on Richardson's novels, none has observed the role of verse citation or the element of gendered violence connected discursively to that influence in Clarissa . Verse citation in Clarissa evidences both Clarissa 's ultimate agency and the role of women writers in shaping Richardson's novel and, perhaps, the development of the eighteenth-century novel. Simultaneously, verse citation in Clarissa suggests the degree to which that development may have naturalized violence against women and the appropriation of their writings.

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20

Sulich, Rachel. "Lovelace's “Gloomy Scheme of Death”: Suffering, Dueling, and Suicide in Richardson's Clarissa." Eighteenth-Century Life 46, no. 2 (April 1, 2022): 88–112. http://dx.doi.org/10.1215/00982601-9664423.

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This article uses Samuel Richardson's Clarissa (1747–48) as a case study in order to expose the relationship between dueling and suicide in eighteenth-century literature and culture. By examining the novel alongside contemporary documents concerning dueling, I make the case that Lovelace's fatal duel with Morden is a covert form of self-destruction, one that allows him to disguise and ultimately escape his sufferings while maintaining his masculine honor and reputation. While many critics have focused on Clarissa's suicide in Richardson's novel, few have considered the nature of Lovelace's own self-willed death at length. The following consideration of Lovelace's “gloomy scheme of death” reveals the violence necessary for performances of masculinity in the early to mid-eighteenth century and suggests that the duel is at the heart at such efforts at self-display.

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21

Gemmill, Katie. "Typography and Conversational Threat in Samuel Richardson's Clarissa." Narrative 27, no. 2 (2019): 140–59. http://dx.doi.org/10.1353/nar.2019.0009.

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22

Beebee, Thomas O. "Doing Clarissa's will: Samuel Richardson's legal genres." International Journal for the Semiotics of Law 2, no. 2 (June 1989): 159–82. http://dx.doi.org/10.1007/bf02053532.

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23

Jost, Jacob Sider. "Samuel Richardson and the Theory of Tragedy: Clarissa's Caesuras." Scriblerian and the Kit-Cats 50, no. 1 (2017): 66–68. http://dx.doi.org/10.5325/scriblerian.50.1.0066.

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24

Taylor, Suzanne. "So Close a Connection: Painful Associations in Samuel Richardson’s Clarissa." ELH 84, no. 1 (2017): 91–115. http://dx.doi.org/10.1353/elh.2017.0003.

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25

Poole, Adam. "The Narrative Function of John Belford in Samuel Richardson's Clarissa." Explicator 67, no. 1 (September 2008): 37–39. http://dx.doi.org/10.3200/expl.67.1.37-39.

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26

Blakely, Kathryn. "Reading Lovelace’s “Rosebud”: Credits, Debits, and Character in Samuel Richardson’s Clarissa." Eighteenth-Century Fiction 33, no. 3 (March 1, 2021): 329–48. http://dx.doi.org/10.3138/ecf.33.3.329.

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27

Roberts, Charlotte. "Writing in Character: Ethics, Plot, and Emphasis in Samuel Richardson's Clarissa." ELH 89, no. 2 (June 2022): 407–35. http://dx.doi.org/10.1353/elh.2022.0015.

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28

Cunard, Candace. "“Labouring in Suspense”: Paying Attention to Providence in Samuel Richardson’s Clarissa." Eighteenth-Century Fiction 30, no. 3 (March 2018): 395–418. http://dx.doi.org/10.3138/ecf.30.3.395.

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29

Cook, Jessica. "Revising Mary Astell: Anna Howe’s Reflections on Marriage in Samuel Richardson’s Clarissa." Eighteenth-Century Fiction 32, no. 3 (March 1, 2020): 407–26. http://dx.doi.org/10.3138/ecf.32.3.407.

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30

Barr, Rebecca Anne. "Samuel Richardson and the Theory of Tragedy: Clarissa’s Caesuras by J.A. Smith." Eighteenth-Century Fiction 31, no. 3 (March 14, 2019): 618–20. http://dx.doi.org/10.3138/ecf.31.3.618.

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31

Lipsedge, Karen. "Representations of the Domestic Parlour in Samuel Richardson's Clarissa, 1747-48." Eighteenth-Century Fiction 17, no. 3 (2005): 391–423. http://dx.doi.org/10.1353/ecf.2005.0032.

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32

Jost, Jacob Sider. "Samuel Richardson and the Theory of Tragedy: Clarissa's Caesuras by J. A. Smith." Scriblerian and the Kit-Cats 50, no. 1 (2017): 66–68. http://dx.doi.org/10.1353/scb.2017.0104.

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33

Pascoe, Judith. "Before I Read "Clarissa" I Was Nobody: Aspirational Reading and Samuel Richardson's Great Novel." Hudson Review 56, no. 2 (2003): 239. http://dx.doi.org/10.2307/3853234.

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34

Oakley, W. "LYNN SHEPHERD, Clarissa's Painter: Portraiture, Illustration, and Representation in the Novels of Samuel Richardson." Notes and Queries 58, no. 3 (September 1, 2011): 453–54. http://dx.doi.org/10.1093/notesj/gjr092.

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35

Hershinow, Stephanie Insley. "Clarissa, by the Numbers: Novel Experience and the Aesthetics of Quantification." Eighteenth-Century Fiction 35, no. 2 (April 1, 2023): 215–34. http://dx.doi.org/10.3138/ecf.35.2.215.

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This essay rethinks a digital humanities approach to literary-historical research by arguing that data is more compatible with narrative than has been heretofore suggested. Taking Samuel Richardson’s Clarissa (1747–48) as its case study, it examines enumeration as a form of literary characterization in the British novel, a process that conveys meaning through an accounting of time spent in everyday life. This approach to character proposes it is through writing, quantifying, and reviewing that character manifests, rather than as a divulgence of privacy or interiority.

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36

Ross, Angus. "Samuel Richardson's "Clarissa": An Index Analyzing the Characters, Subjects, and Place Names (review)." Eighteenth-Century Fiction 15, no. 1 (2002): 144–46. http://dx.doi.org/10.1353/ecf.2002.0055.

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37

Swartz, Kelly. "The New Realism of Literary Generalization in Richardson's Clarissa." Eighteenth Century 63, no. 1-2 (March 2022): 1–16. http://dx.doi.org/10.1353/ecy.2022.a926990.

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Abstract: Since the eighteenth century, writers have positioned maxims—pithy statements of general truth—as antithetical to realist fiction. According to these accounts, a work is "realist" if it produces in a reader an internal sense of it being true to reality. General and common maxims are, by contrast, unreal because they "leave no impression on the mind." Working alongside and against these accounts of the maxim-realism antithesis, this essay uncovers an alternative realism advanced through literary generalization in Samuel Richardson's Clarissa . "Literary generalization" is an umbrella term I use for a number of related forms that run through Richardson's work: newly formulated maxims; the literary fragments comprising the tenth "mad paper"; and literary quotations from "real" works that fictional characters use to predict effects within the fictional world. I argue that this realism of literary generalization involves the reader in the composition of a common world composed of unpredictable associations. This world is composed of human and nonhuman entities, defined by shifting inequities, and is unredeemable through an individual's cultivation of meaning within. This is a very different realism than the still influential formal realism of the early novel that Ian Watt introduced many decades ago. Although the alternative realism I find in Clarissa is not "new," I mark it as such to signal the essay's engagement with several versions of what has been called the "new materialism."

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38

Brown, Murray L. "Clarissa’s Painter: Portraiture, Illustration, and Representation in the Novels of Samuel Richardson (review)." Eighteenth-Century Fiction 24, no. 2 (2011): 390–92. http://dx.doi.org/10.1353/ecf.2011.0054.

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39

Elliott, Kamilla. "Clarissa’s Painter: Portraiture, Illustration, and Representation in the Novels of Samuel Richardson by Lynn Shepherd." Scriblerian and the Kit-Cats 47, no. 1 (2014): 56–58. http://dx.doi.org/10.1353/scb.2014.0031.

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40

Smith, J. A. "Clarissa's Painter: Portraiture, Illustration, and Representation in the Novels of Samuel Richardson - By Lynn Shepherd." Journal for Eighteenth-Century Studies 35, no. 2 (May 24, 2012): 269–70. http://dx.doi.org/10.1111/j.1754-0208.2010.00366.x.

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41

Dussinger, John A. "Clarissa's Narrators, and: Autonomous Voices: An Exploration of Polyphony in the Novels of Samuel Richardson (review)." Eighteenth Century Fiction 18, no. 3 (2006): 390–92. http://dx.doi.org/10.1353/ecf.2006.0040.

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42

Godel, Rainer. "Why Samuel Richardson's Clarissa became a role model. On Johann Georg Zimmermann's biography of Albrecht von Haller." Almagest 10, no. 1 (May 2019): 38–50. http://dx.doi.org/10.1484/j.almagest.5.118331.

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43

Lipsedge, K. "'A Place of Refuge, Seduction or Danger?: The Representation of the Ivy Summer-House in Samuel Richardson's Clarissa'." Journal of Design History 19, no. 3 (January 1, 2006): 185–96. http://dx.doi.org/10.1093/jdh/epl018.

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44

Harris, Jocelyn. "The Body in Samuel Richardson's "Clarissa": Contexts of and Contradictions in the Development of Character (review)." Eighteenth-Century Fiction 8, no. 2 (1996): 300–301. http://dx.doi.org/10.1353/ecf.1996.0041.

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45

Sherwin, D. "The Institutionalization of Benevolence in the Eighteenth-Century Social Welfare State: The Great Charity Debate in Samuel Richardson's Clarissa." Journal of Church and State 42, no. 3 (June 1, 2000): 539–59. http://dx.doi.org/10.1093/jcs/42.3.539.

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46

Williams, Kate. "'The Force of Language, and the Sweets of Love': Eliza Haywood and the Erotics of Reading in Samuel Richardson's Clarissa." Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies 23 (2004): 309. http://dx.doi.org/10.7202/1012201ar.

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47

TIEKEN-BOON VAN OSTADE, INGRID. "Late Modern English in a Dutch context." English Language and Linguistics 16, no. 2 (June 1, 2012): 301–17. http://dx.doi.org/10.1017/s1360674312000044.

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The translation of Lindley Murray's English Grammar (1795) into many different languages is often taken as a starting point for the spread of English as a world language. This article places the developing European interest in English much earlier than that, and it does so by analysing a series of letters in the library of the University of Leiden written by Englishmen from the Late Modern English period to men of letters in the Netherlands. The letters show that English as a medium of communication was not as a rule an issue, even though Dutch letter writers were rarely exposed to English and often lacked the tools – or the teachers – to acquire the language, a situation which would change drastically during the nineteenth century. The article also analyses the earliest attempts at writing in English by Johannes Stinstra, the Dutch translator of Samuel Richardson's Clarissa.

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48

Lipsedge, Karen. "“I was also absent at my dairy-house”: The Representation and Symbolic Function of the Dairy House in Samuel Richardson’s Clarissa." Eighteenth Century Fiction 22, no. 1 (2009): 29–48. http://dx.doi.org/10.1353/ecf.0.0105.

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49

Harris, Jocelyn. "The Annotations in Lady Bradshaigh's Copy of "Clarissa", and: Samuel Richardson's New Nation: Paragons of the Domestic Sphere and "Native" Virtue (review)." Eighteenth-Century Fiction 12, no. 1 (1999): 105–7. http://dx.doi.org/10.1353/ecf.1999.0015.

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50

McInnes, Andrew. "Samuel Richardson and the Theory of Tragedy: ‘Clarissa's Caesuras. By J. A. Smith. Manchester: Manchester University Press. 2016. ix + 175 p. £60 (hb). ISBN 978-0-7190-9793-5." Journal for Eighteenth-Century Studies 41, no. 1 (February 7, 2018): 146–48. http://dx.doi.org/10.1111/1754-0208.12497.

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