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Books on the topic 'Novel of sentiment'

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Published: 4 June 2021
Last updated: 17 February 2022

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1

Barnett, Jill. Sentimental journey: A novel. New York: Pocket Star Books, 2002.

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2

Las ingratas: Novela sentimental. Buenos Aires: Clarín/Aguilar, 2002.

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3

Cohen, Margaret. The sentimental education of the novel. Princeton, N.J: Princeton University Press, 1999.

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4

Brink, Gabriël. Moral Sentiments in Modern Society. Translated by Gioia Marini. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089647757.

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Since the time of Adam Smith, scholars have tried to understand the role moral sentiments play in modern life, an issue that became especially urgent during and after the 2008 global financial crisis. Previous explanations have ranged from the idea that modern society is built on moral values to the notion that modernisation results in moral decay. The essays in this interdisciplinary volume use the example of Dutch society and a wealth of empirical data to propose a novel theory about the ambivalent relation between contemporary life and human nature. In the process, the contributors argue for the need to reject simplistic explanations and reinvent civil society.
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5

Duarte, Manuel Dias. O professor Simão Botelho: Novela sentimental. Lisboa: Fonte da Palavra, 2013.

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6

Cavendish, Devonshire Georgiana Spencer. Emma, or, The unfortunate attachment: A sentimental novel. Albany: State University of New York Press, 2004.

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7

El canalla sentimental. Barcelona: Planeta, 2008.

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8

Clio, Eros, Thanatos: The "novela sentimental" in context. New York: P. Lang, 2001.

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9

Escudero, Carmen. La novela sentimental española: Formas y recursos expresivos. Murcia: Diego Marín, 1989.

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10

Zwinger, Lynda. Daughters, fathers, and the novel: The sentimental romance of heterosexuality. Madison, Wis: University of Wisconsin Press, 1991.

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11

Daughters, fathers, and the novel: The sentimental romance of heterosexuality. Madison, Wis: University of Wisconsin Press, 1991.

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12

Daughters, fathers, and the novel: The sentimental romance of heterosexuality. Madison, Wis: University of Wisconsin Press, 1991.

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13

The severed word: Ovid's Heroides and the novela sentimental. Princeton, N.J: Princeton University Press, 1990.

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14

Zaczek, Barbara Maria. Censored sentiments: Letters and censorship in epistolary novels and conduct material. Newark: University of Delaware Press, 1997.

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15

The politics of sensibility: Race, gender, and commerce in the sentimental novel. New York: Cambridge University Press, 1996.

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16

Lago, Maria Paula. Naceo e Amperidónia: Estatuto da novela sentimental do século XVI. Braga: Angelus Novus, 1997.

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17

Le nouvel ordre sentimental: À quoi sert la famille aujourd'hui? Paris: Payot, 2003.

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18

Carre, John Le. The naive and sentimental lover. Bath: Chivers P., 1993.

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19

Carre, John Le. The naive and sentimental lover. Bath: Chivers, 1992.

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20

Carre, John Le. El amante ingenuo y sentimental. Barcelona: Plaza & Janés Editorial, 1992.

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21

Carre, John Le. The naive and sentimental lover. South Yarmouth, MA: Curley Pub., 1992.

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22

Carre, John Le. The naive and sentimental lover. London: Hodder & Stoughton, 1995.

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23

Suryana, Nana. Ironi perempuan di tengah isu sentimen gender: Telaah sosiologis novel kontemporer Indonesia : laporan penelitian. [Bandung]: Fakultas Sastra, 2000.

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24

Slavery ordained by God in the domestic sentimental novel of the nineteenth-century South. Lanham, MD: Lexington Books, 2009.

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25

Una nueva mirada a la parodia de la novela sentimental en La Celestina. Madrid: Iberoamericana, 2009.

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26

Iglesias, Yolanda. Una nueva mirada a la parodia de la novela sentimental en La Celestina. Madrid: Iberoamericana, 2009.

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27

La unidad genérica de la novela sentimental española de los siglos XV y XVI. London: Dept. of Hispanic Studies, Queen Mary and Westfield College, 1999.

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28

Sarlo, Beatriz. Signos de pasión: Claves de la novela sentimental del Siglo de las Luces a nuestros días. Buenos Aires: Editorial Biblos, 2012.

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29

Klotz, Marcia. White women and the dark continent: Gender and sexuality in German colonial discourse from the sentimental novel to theFascist film. Ann Arbor: University Microfilms, 1996.

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30

Klotz, Marcia. White women and the dark continent: Gender and sexuality in German colonial discourse from the sentimental novel to the fascist film. [Stanford, Calif.]: Klotz, 1994.

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31

Unamuno, Miguel de. La novela de Don Sandalio, jugador de ajedrez: Un pobre hombre rico, o, El sentimiento cómico de la vida. Madrid: Ediciones Siruela, 2005.

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32

Slaughter, Frank G. Spencer Brade, M.D. Amereon Ltd, 1992.

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33

Lennox, Charlotte, and Margaret Anne Doody. The Female Quixote. Edited by Margaret Dalziel. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199540242.001.0001.

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The Female Quixote (1752), a vivacious and ironical novel parodying the style of Cervantes, portrays the beautiful and aristocratic Arabella, whose passion for reading romances leads her into all manner of misunderstandings. Praised by Fielding, Richardson and Samuel Johnson, the book quickly established Charlotte Lennox as a foremost writer of the Novel of Sentiment. With an excellent introduction and full explanatory notes, this edition will be of particular interest to students of women's literature, and of the eighteenth-century novel.
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34

A Sentimental Novel. Dalkey Archive Press, 2014.

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35

Sill, Geoffrey. Developments in Sentimental Fiction. Edited by Alan Downie. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.019.

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The sentimental strain in English fiction, which represents men of feeling and women of sensibility engaging in acts of sympathy and benevolence, became prominent in the 1760s through the novels of Charlotte Lennox, Oliver Goldsmith, Laurence Sterne, Henry Mackenzie, and others, building primarily on the work of Samuel Richardson and Henry and Sarah Fielding. The reformation of male manners, the feminization of taste and consumption, the grounding of ethics in human nature rather than rationalism or faith, and the emergence of a theory of moral sensibility all contributed to the popular reception of sentimental fiction. Frances Burney’s first two novels, Evelina and Cecilia, successfully combined sentiment with the comedy of Fielding and the moral sententiousness of Richardson, but in the third, Camilla, Burney felt the pressure of an increasing taste for realism, which eventually lessened the predominance, though it did not entirely eliminate, the sentimental form.
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36

Sinclair, Tammy. Sentimental Journey: A Novel. Independently Published, 2020.

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37

César, Hernández Alonso, Rodríguez de la Cámara, Juan, 15th cent., San Pedro, Diego de, fl. 1500., and San Pedro, Diego de, fl. 1500., eds. Novela sentimental española. [Barcelona]: Plaza & Janés, 1987.

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38

Brown, Herbert Ross. Sentimental Novel in America, 1789-1960. Reprint Services Corp, 1991.

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39

Cohen, Margaret. The Sentimental Education of the Novel. Princeton University Press, 2002.

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40

Coleman, Deirdre. Imperial Commerce, Gender, and Slavery. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0024.

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This chapter explores the twinned emergence in the British novel of a critique of plantation slavery and commercial imperialism with a proto-feminist questioning of the ‘commerce of the sexes’. The discourses of racial and sexual oppression resonate with one another, helping to establish connections between inequalities at home and the sufferings of distant others. It has been argued that novelistic representations of violence and suffering are central to an ‘imagined empathy’ which in turn assisted the development in the eighteenth century of humanitarian sentiment. While it might be charged that the mid-eighteenth-century novel failed to grant full humanity to the enslaved and that it was somewhat instrumentalist in its handling of slavery reform, it can be demonstrated that the versatility of the figure of slavery enabled fuller characterization of the colonized and enslaved, as well as the more explicit imagining of colonial violence.
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41

Carruthers, Gerard. Jacobite Unionism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198736233.003.0006.

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The matter of Jacobitism and the cause of the Stuarts are at the heart of the modern Scottish literary canon, from the songs of Burns via the novels of Scott to the era of Aytoun and Stevenson. Political Jacobitism between 1707 and 1745–6 was the primary vehicle for Scottish independence and anti-unionist sentiment. However, after the collapse of the Jacobite movement at Culloden, later generations of sentimental Jacobite writers, while continuing to be entranced by the romance of Stuart dynasticism, stood for a more pragmatic strain of political acceptance. Sentimental Jacobite writers did not challenge the Union per se, though they tended to subscribe to the view that it was—and should be—a partnership of equals. Scotland, they argued, was not a province of England, no mere Scotland-shire. Nevertheless, much of Scotland’s Jacobite, or more properly neo-Jacobite, literary canon embodied a sotto voice acceptance of the Union.
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42

Benedict, Barbara M. ‘Male’ and ‘Female’ Novels? Gendered Fictions and the Reading Public, 1770–1832. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.015.

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The fiction from 1770 to 1830 shows the strains of a society that increasingly identified cultural consumption with gender. Whereas the sentimental novels of the 1770s used epistolary narrators to relate stories of love and feeling from the perspective of both men and women, by the 1790s the new, Gothic novels were centred on women besieged by tyranny from without and uncertainty from within. This genre fiction contributed to the derogation of the novel and its association with an undiscriminating female audience. Throughout the period, women were held up as the quintessential novel-readers because more women were visibly writing and reading novels than ever before, and because the popular marriage plot, female hero, thematic focus on etiquette, and emphasis on delicacy and refinement all seemed to speak to feminine concerns. In fact, most novel-writers and novel-readers were men because men wrote and read more than women.
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43

Reed, Walter L. The Continental Influence on the Eighteenth-Century Novel. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.003.

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The eighteenth-century English novel was influenced by earlier prose fiction from the Continent; the English improved what others had invented. Individual novels from the Continent were imitated by British novelists; particular genres first developed abroad were adapted by them as well. Spanish novels like Don Quixote and the picaresque preceded and influenced novels of Defoe, Fielding, Smollett, and Sterne. Seventeenth-century French romances influenced novels of amorous intrigue by Behn, Manley, and Haywood. These in turn provoked the novel of women’s virtuous resistance created by Richardson. Earlier prose fiction from the Continent was translated into English and widely read throughout the eighteenth century. The transnational traffic in fiction flowed in the other direction as well. Rousseau’s enthusiastic embrace of Richardson popularized the transnational genre of the sentimental novel. From the 1770s onwards German fiction became influential in England, and German-derived tales of terror came to dominate the popular British market.
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44

Mendelman, Lisa. Modern Sentimentalism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849872.001.0001.

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Modern Sentimentalism examines how American female novelists reinvented sentimentalism in the modernist period. Just as the birth of the modern woman has long been imagined as the death of sentimental feeling, modernist literary innovation has been understood to reject sentimental aesthetics. Modern Sentimentalism reframes these perceptions of cultural evolution. Taking up icons such as the New Woman, the flapper, the free lover, the New Negro woman, and the divorcée, this book argues that these figures embody aspects of a traditional sentimentality while also recognizing sentiment as incompatible with ideals of modern selfhood. These double binds equally beleaguer the protagonists and shape the styles of writers like Willa Cather, Edith Wharton, Anita Loos, and Jessie Fauset. ‘Modern sentimentalism’ thus translates nineteenth-century conventions of sincerity and emotional fulfillment into the skeptical, self-conscious modes of interwar cultural production. Reading canonical and underexamined novels in concert with legal briefs, scientific treatises, and other transatlantic period discourse, and combining traditional and quantitative methods of archival research, Modern Sentimentalism demonstrates that feminine feeling, far from being peripheral to twentieth-century modernism, animates its central principles and preoccupations.
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45

The Sentimental Novel in the Eighteenth Century. Cambridge University Press, 2019.

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46

Rivero, Albert J., ed. The Sentimental Novel in the Eighteenth Century. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108292375.

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47

Flaubert, Gustave. Sentimental Education. Edited by Patrick Coleman. Translated by Helen Constantine. Oxford University Press, 2016. http://dx.doi.org/10.1093/owc/9780199686636.001.0001.

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‘For certain men the stronger their desire, the less likely they are to act.’ With his first glimpse of Madame Arnoux, Frédéric Moreau is convinced he has found his romantic destiny, but when he pursues her to Paris the young student is unable to translate his passion into decisive action. He also finds himself distracted by the equally romantic appeal of political action in the turbulent years leading up to the revolution of 1848, and by the attractions of three other women, each of whom seeks to make him her own: a haughty society lady, a capricious courtesan, and an artless country girl. Flaubert offers a vivid and unsparing portrait of the young men of his generation, struggling to salvage something of their ideals in a city where corruption, consumerism, and a pervasive sense of disenchantment undermine all but the most compromised erotic, aesthetic, and social initiatives. Sentimental Education combines thoroughgoing irony with an impartial but unexpectedly intense sympathy in a novel whose realism competes with that of Balzac and whose innovations in narrative plot and perspective mark a turning-point in the development of literary modernism.
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48

Jay, Gregory S. Sympathy in Action. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190687229.003.0002.

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Liberal race fiction originates in the novels of moral sentiment and philosophies of sympathy in the 18th century. The chapter establishes the principal components of those traditions. It then conducts readings of Stowe’s Uncle Tom’s Cabin and Twain’s Adventures of Huckleberry Finn to show how the education of the heart works in their literary forms and arguments. Stowe’s depictions of both white and black characters are found to be influenced by “racialist” theories of her time that have both progressive and harmful effects. Her fiction relies on traditions from eighteenth-century moral philosophy as well as emergent feminist analyses of patriarchal power. Like Stowe, Twain draws on the devices of sentimental fiction in creating the relation of Huck and Jim as emotional rather than political. The didactic scene of Huck’s epiphany becomes central to the teaching of the book in the twentieth century.
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49

Garside, Peter. ‘Ordering’ Novels. Edited by Alan Downie. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.027.

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This essay considers the way in which various types of fiction were projected at their original readers, primarily through the title pages, but also through reviews and circulating-library catalogues. Increasing use was made of ‘Novel’, ‘Romance’, and ‘Tale’ as main descriptors, with Novel gradually gaining prominence in the later eighteenth century, Romance enjoying a moment of popularity round the turn of the century, and Tale or Tales achieving ascendancy by the 1820s. Additional components in titles, such as the Sentimental, Gothic, and Historical, helped communicate different subgeneric types of fiction. Eventually, a three-tiered system stretched from ‘common’ circulating fiction to novels of reputation, the latter signalled by the use of the larger octavo format and through the development of distinct author identities (even when published anonymously). The Magnum Opus collected edition of Scott’s novels made him a classic in his time, finally establishing the novel as a fully established genre.
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50

Downie, Alan. Epilogue: The English Novel at the End of the 1760s. Edited by Alan Downie. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.36.

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This chapter analyzes the market for the English novel at the end of the 1760s. As far as British fiction is concerned, there were peaks and troughs during the 1760s rather than a steady upward curve, but by the end of the century getting on for 100 new novels were appearing annually in contrast to the forty listed for the year 1770. What was being offered to the reading public during the period were ‘Probable Feign’d Stories’ satisfying the most basic requirements of what Ian Watt called ‘formal realism’, a development in which Henry Fielding played an influential role. The chapter shows that, at the end of the 1760s, the British novel was patently flourishing, thanks in large part to the publishing of several innovative forms of prose fiction such as the Gothic and the sentimental novel.
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