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McGarr, Susan Patricia Tym. "Representations of Deficient Motherhood in English Novels of the Eighteenth Century: Daniel Defoe, Samuel Richardson, Frances Burney, and Anne Radcliffe." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/366278.
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The eighteenth century witnessed the development of an ideology of motherhood that promoted the notions that women are born to be mothers and naturally inclined toward childcare and domesticity. Throughout the century, in all manner of cultural forms, the mother’s role was constructed into a series of rules of maternal behaviour, sentiments, and responsibilities were promoted as the attributes of maternal excellence.
Against the cultural imperative to define and idealize maternity, there emerged a body of fiction in which mothers and mother figures are deficient when measured against the exacting standards of maternal excellence. Either the mother fails because she does not exhibit the appropriate maternal sentiments that would propel her to perform the duties of the ideal mother, or she is absent and forced to leave the mothering of her child to others. These others – substitute mothers – are also deficient in some way. Whatever form deficient motherhood takes in these novels, the mother figure exerts some form of agency that affects the destiny of her child, and the outcome of the narrative.
Through close textual analysis of the novels, Moll Flanders (1722), Roxana (1724), Clarissa (1747-9), Evelina (1778), and The Italian (1797), this thesis examines how literary representations of deficient motherhood are realized in English novels of the eighteenth century, and demonstrates why major writers, like Daniel Defoe, Samuel Richardson, Frances Burney, and Ann Radcliffe deployed this fascinating theme. It argues that there was a crucial change in the method of representation and that these two different methods were reflected by, and reflective of, the changing cultural and social requirements, needs, and desires to define and control motherhood. It further argues that the deficient mother was an effective narrative device for writers to explore the emerging ideas on gender and social class. The representative novels engage with issues pertinent to their historic time and place and highlight the extent to which mothers - and women in general – in eighteenth- century England were defined by the precepts of ideal motherhood, social class, and gender.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
Faculty of Humanities and Social Sciences
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Pajares, Infante Eterio. "Richardson en España." León : Secretario de publ., Universidad de León, 1989. http://catalogue.bnf.fr/ark:/12148/cb376797169.
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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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Williams, Katherine Ruth. "Samuel Richardson and amatory fiction." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422578.
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Shepherd, Lynn B. "Samuel Richardson and eighteenth-century portraiture." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439316.
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Curran, L. C. "Samuel Richardson : the author as correspondent." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1349011/.
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This thesis is a broadly chronological study of Samuel Richardson’s correspondence, from his early career as a novelist in the 1740s through to his death in 1761. It argues that Richardson’s sustained concern with the aesthetics and ethics of writing letters was central to his conception of authorship and its relation to publicity. It contends that the form and content of Richardson’s letters interact with his novels in ways that are more pervasive than has been previously acknowledged in Richardson studies; I read letters as an integral part of his literary oeuvre, not merely an adjunct to it. The thesis uses manuscripts of Richardson’s correspondence in archives in both Britain and America, many of which are unpublished. Chapter One examines the development of a familiar epistolary prose style in Richardson’s early works, particularly his first novel Pamela (1740) and its sequel (1741). It focuses on the relationship between aesthetics and ethics in the use of the familiar letter in fiction of this period. Chapter Two is, in part, a case study of Richardson’s letters with his most significant correspondent, Lady Bradshaigh, about Clarissa (1747-8), and links their letters to the development of a quasi-autobiographical mode of writing in his last surviving piece of fiction, ‘The History of Mrs Beaumont’. Chapter Three traces how Richardson used correspondence to encourage and promote women’s writing, both in manuscript and print. Chapter Four examines Richardson’s correspondence with men and his attempt to reformulate literary manliness as a moral virtue in Sir Charles Grandison (1753-4). Chapter Five extends these aesthetic and moral debates to Richardson’s own editing of his correspondence, using manuscript evidence and exchanges he had concerning the ethics of publishing his letters during his lifetime. The Conclusion discusses the implications of these examples for the future study of the author as correspondent.
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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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Zelen, Renata Halina. "The trial of pygmalion : twentieth-century reader response to heroines in the eighteenth-century novel, with special reference to Samuel Richardson's C̀larissa' /." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12365208.
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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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Joling-van, der Sar Gerda Joke. "The spiritual side of Samuel Richardson : mysticism, Behmenism and millenarianism in an eighteenth-century English novelist /." [s.l.] : [s.n.], 2003. http://catalogue.bnf.fr/ark:/12148/cb400175164.
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Mai, Hans-Peter. "Samuel Richardsons "Pamela" : Charakter, Rhetorik und Erzählstruktur /." Stuttgart : F. Steiner Wiesbaden, 1986. http://catalogue.bnf.fr/ark:/12148/cb34923223t.
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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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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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Ghabris, Maryam. "Les passions dans les romans de Samuel Richardson." Paris 3, 1990. http://www.theses.fr/1990PA030098.
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Les passions, que fustigent les philosophes depuis les anciens grecs, les prédicateurs et les romanciers, constituent le thème essentiel des romans de Samuel Richardson. Il les développe, de l'amour à la haine du moi, depuis leur éveil jusqu'à leurs excès et leurs conséquences. Favorisées par le tempérament anglais et par la condition de la femme considérée comme l'objet prometteur des passions des hommes, les passions sont à l'origine des vices de la société du dix-huitième siècle qui n'apportent que souffrance et malheur. Richardson défend la femme et prône chez les deux sexes la chasteté, la délicatesse, la sensibilité et l'amour du prochain. Il met en garde deux qui, abuses par leurs passions, oublient que la vie temporelle n'est qu'une vie probatoire en vue de la vie éternelle; il les encourage à se reformer par le repentir avant que le destin ne les surprenne dans une mort prématurée. Richardson, moraliste chrétien, conseille une éducation fondée sur l'obéissance à la loi morale et sur l'adhésion à la foi en dieu. Richardson, romancier, analyste du coeur humain, fait pénétrer le lecteur dans les profondeurs de l'inconscient de ses personnages, par le biais d'une composition habile, aux intrigues bien construites, aux dialogues vivants et au style qui donne à l'expression des passions une authenticité jamais atteinte jusqu'ici. Chantre de la raison et de la sensibilité, Richardson servira de modèle aux romanciers et son oeuvre donnera le ton au roman sentimentalPassions, criticised by the greeks, preachers and novelists, are the essential themes in the novels of Samuel Richardson. He develops these, from one extreme passion to the other, from their awakenings to their excesses and their consequences. Favoured by the english temperament, and by the condition of the woman considered as the promising object of men, passions are the sources of the vices of eighteenth-century bringing suffering and calamity. Richardson defends the woman and commends chastity, delicacy, sensibility and generosity for both sexes. He warns those who, misled by their passions, forget that temporal life is not but a life of trial if compared to eternal life. Richardson encourages men to change their ways by repenting before destiny surprizes them by an untimely death. Richardson, a christian moralist, advises an education based on obeying the moral code and an adhesion to faith in god. As a novelist and an analyst of the human heart, he invites the reader to penetrate into the subconscious of his characters in his shillful composition, well-constructed plots, lively dialogues and a style which gives to the expression of passions an authenticity never before attained. Eulogist of reason and sensibility, Richardson served a model for women novelists and his work gave a tone to the sentimental novel
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Bender, Ashley Brookner. "Samuel Richardson's Revisions to Pamela (1740, 1801)." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4638/.
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The edition of Pamela a person reads will affect his or her perception of Pamela's ascent into aristocratic society. Richardson's revisions to the fourteenth edition of Pamela, published posthumously in 1801, change Pamela's character from the 1740 first edition in such a way as to make her social climb more believable to readers outside the novel and to "readers" inside the novel. Pamela alters her language, her actions, and her role in the household by the end of the first edition; in the fourteenth edition, however, she changes in little more than her title. Pamela might begin as a novel that threatens the fabric of class hierarchies, but it ends-both within the plot and externally throughout its many editions-as a novel that stabilizes and strengthens social norms.
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Spilker, Karen Segrid. "Pamela : the book as a visual and physical experience." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675682.
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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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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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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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Barr, R. A. "Community and the subject in the work of Samuel Richardson." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.596401.
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The novel has often been viewed as instantiating the alienation of the self from society, replacing the involved pre-modern self with an inward-turning ‘subject’. Ian Watt’s influential characterisation of the novel form, and particularly Richardson’s work, is that it is ‘individualist and innovating’. The idea that the novel’s ‘primary criterion [is] truth to individual experience’ has coloured subsequent analysis, which has accordingly focussed on the individuality – that is, the isolation or separateness – of Richardson’s characters rather than their connectedness, or sense of community. This thesis attempts to rectify the individualist bias of previous literary criticism. Through detailed textual analysis of Richardson’s conduct book, The Apprentice’s Vade Mecum, and his novels, Pamela, Clarissa, and Sir Charles Grandison, I provide a re-reading of Richardson’s work which reinstates the importance of relationship in the novel with reference to religious and philosophical contexts. Situating Richardson’s work as part of the reaction against the work of Mandeville, I show how religious ideas underpin his representations of the community, gender and the subject. By using the concept of subjectivity, and the subject, rather than the over-determined category of the individual, I show how his novels act as literary figurations of social practice. I argue that these writings offer a theory of human relations in their focus on the subject and its social duties. Locating and critiquing inadequate, immoral and dysfunctional forms of relationship, they offer a social grammar of obligation, morality and self-sacrifice.
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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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Affonso, Claudia Maria. "Pamela um estudo sobre a relação personagem/espaço no romance inglês do século XVIII." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-22022010-151411/.
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O século XVIII foi um período de grandes mudanças na estrutura social e econômica vigente. Como conseqüência, a forma de organização do espaço de moradia também se alterou. Houve uma reordenação do espaço doméstico com a criação de lugares privados dentro e fora da casa e a valorização dos jardins ao redor das grandes propriedades rurais inglesas. A ascensão da nova classe média e um crescente interesse pela introspecção e privacidade propiciaram a formação destes espaços reservados ao isolamento. A partir do surgimento do romance na primeira metade do século XVIII, o espaço doméstico viu-se valorizado e descrito com mais atenção na narrativa literária. Este cuidado em retratar a vida doméstica na literatura surgiu a partir do desejo de representar a vida dos homens comuns de modo mais autêntico. Em Pamela, romance do escritor inglês Samuel Richardson publicado pela primeira vez na Inglaterra em 1740, observamos esta ênfase no espaço interior do recolhimento e da introspecção. A relação que se estabelece entre as personagens e o espaço dentro do romance é vital para a construção do enredo.Great social and economic changes were brought about in the eighteenth-century causing, among other alterations, the rearrangement of the living spaces in the houses. This reorganization of the domestic space was responsible for the creation of private spaces inside and outside the great English country houses together with an improvement in the surrounding gardens. At that time the new middle classes were gaining more and more political and economic power and developing a taste for privacy, which required the creation of specific places inside and outside the houses for the enjoyment of the pleasures of isolation and introspection. With the rise of the novel in the first half of the eighteenth century, this domestic space was also valued, pictured and described with more attention in literature. This increasing interest in the domestic life is associated with a wish to portray the everyday lives of ordinary men with greater authenticity. In Pamela, a novel by Samuel Richardson published for the first time in England in 1740, this emphasis in the private space of isolation and introspection is clearly depicted. The deep correlation between space and characters in the novel is vital for the development of the plot.
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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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Bechler, R. "Lovelace Progenitor : A study of the C18th villain." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383712.
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Townsend, Alex. "Autonomous voices : an analysis of polyphony in the novels of Samuel Richardson." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298168.
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Steindl, Elisabeth. "Pamela im Wandel : Carlo Goldonis Bearbeitungen des Romans "Pamela", Or, Virtue Rewarded von Samuel Richardson /." Frankfurt am Main : Peter Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38966036q.
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Latimer, Bonnie. "Contexts for reading gender and narrative authority in the fiction of Samuel Richardson." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438588.
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Maaouni, Jamila. "Les personnages des romans de Samuel Richardson : (1689-1761) : le héros et le double." Paris 3, 1992. http://www.theses.fr/1992PA030092.
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Le foisonnement des personnages dans les romans de samuel richardson est tel qu'il invite a definir une problematique qui soit a la fois reflet de la conscience du romancier a l'oeuvre dans la creation litteraire et transposition ou distanciation critique. Certe, l'intention premiere du romancier des d'instruire son lecteur. Mais les personnages de ses romans ont aussi d'autres fonctions, moins apparentes, et les ressorts qui les animent relevent souvent du non-dit. Il s'agit donc de nrespecter a la fois le dessein moralisateur du romancier en examinant les attitudes de ses personnages devant la societe tout en elucidant le sens des silences et du non-dit qui emaillent, de facon paradoxale, ces romans prolixes et qui revelent, peut-etre davantage, l'essence de l'esprit createur a l'oeuvre dans la peinture des personnages. L'etude du personnage pose des problemes qui sont encore loin d'etre resolus. Un examne des relations gemellaires entre les protagonistes et leurs correspondants permet de degager des lois susceptibles de devoiler des aspects contradictoires du romancier. L'unite structurale de la trilogie depend des personnages narrateurs qui se repondent d'un roman a l'autre, comme en echoThe multiplicity of characters in richardson's novels is such that it calls for a definition of the field of research. The present study aims at giving both a reflection of the novelist's conscience at work within the literary creation and a transposition or critical distancing. The novelist's primary aim is to instruct and edify his reader. But his characters also have other functions and more hidden motives. The relationships between richardson's characters and the society in which they live are charged with meaning. However, paradoxically, the silences and tacit assumptions peppered in these prolix novels are perhaps of greater significance in so far as they reveal the essence of the creative spirit at work in the painting of characters. The study of character poses problems that are far from being resolved. The main interest of an examination of the twin relations between the protagonists and their correspondents in richardson's epistolary novels lies in the fact that they disclose the novelist's contradictory aspects
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Dachez, Hélène. "Ordre et désordre : le corps et l'esprit dans les romans de Samuel Richardson (1689-1761)." Paris 3, 1998. http://www.theses.fr/1998PA030155.
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L'etude de l'ordre et du desordre a travers le corps et l'esprit fait ressortir la complexite et l'unicite des romans epistolaires de samuel richardson. L'ordre disparait au profit de dereglements qui affectent l'esprit et l'organisme des personnages, le corps du texte et le corpus romanesque. Les deux principes entretiennent un rapport dialectique et l'auteur presente une coincidence des contraires. Les romans tendent vers l'ordre qui n'est envisage qu'apres des moments d'epreuves necessaires a la purification et a la sublimation des troubles. Toutefois, la quete de l'ordre reste incomplete et les deux elements sont indissociables. Cette dialectique (fusionnelle) informe l'esthetique romanesque. L'ecrivain rejette la linearite et integre l'ellipse a ses oeuvres, qui contournent leur centre et melent realite et theatralite. Le texte progresse en regressant et sollicite le lecteur. Le roman, multiple et plurivoque, se dedouble, se renverse et nie tout manicheisme. Sa structure l'apparente a un jardin a l'anglaise l'ecrivain joue avec les conventions litteraires pour souligner le caractere paradoxal de son corpus, qui semble echapper a toutes les instances ordonnatrices, pour s'achever sur l'impossibilite de conclure. L'interpenetration de l'ordre et du desordre proposee par richardson donne naissance a un nouvel ordre romanesqueThe complexity and uniqueness of samuel richardson's epistolary novels become apparent through the study of order and disorder in the light of body and mind. Order is thwarted by the troubles affecting the characters' minds and bodies, the body of the text, and the literary corpus. The two principles are united in a dialectical pattern in which the writer underlines the coincidence of contraries. The novels strive after order, which is only contemplated after trials necessary to the purification and sublimation of perturbations. However the quest for order remains incomplete, and the two elements are inseparable. The fusional dialectics influences the novels' aesthetics. Richardson rejects linearity and integrates ellipsis into his works, which revolve around their centre, and mix reality and theatricality. The text progresses at the same time as it regresses, and requires the reader's participation. Inversion and doubleness are at the core of the novels, which become multiple and plurivocal, and avoid any kind of manicheism. Their structure is akin to that of an eighteenth- century english garden. The writer plays with literary conventions to show the paradoxes of the corpus, which seems to escape the control of the various organizing instances and ends on the impossibility to come to a conclusion. The interpenetration of order and disorder is organized by richardson to create a new novelistic order
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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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Crumbo, Daniel Jedediah, and Daniel Jedediah Crumbo. "The Comedy of Trauma: Confidence, Complicity, and Coercion in Modern Romance." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626362.
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Stories engage a form of virtual play. Though they incorporate language and abstractions, stories engage many of the same biological systems and produce many of the same anatomical responses as simpler games. Like peek-a-boo or tickle play, stories stage dangerous or unpleasant scenarios in a controlled setting. In this way, they help develop cognitive strategies to tolerate, manage, and even enjoy uncertainty. One means is by inspiring confidence in difficult situations by tactical self-distraction. Another is to reframe negative or uncertain situations as learning opportunities, that is, to ascribe meaning to them. While both strategies are useful, each has limitations. In William Shakespeare’s The Winter’s Tale, a king succumbs to the desire to make meaning where there is none, and nearly ruins himself in a self-composed tragedy. His friend restores his confidence and enables a happy ending—but only by deceiving him. This deception is benign, but the heroine of Samuel Richardson’s Clarissa is nearly ruined by her abductor’s confidence game. Her “happy ending” is made possible only by reframing her rape and death as redemptive transfiguration—which, as many of her readers suggest, is a dubious affair. The hero of Herman Melville’s The Confidence-Man spends the first half of the novel eliciting his companions’ confidence in order to swindle them, and the second half trying to inspire himself with the same confidence. The novel ends with an ominous impasse: one must trust, but one ought not to. For Samuel Beckett, this impasse is productive. In his middle novels, thought itself emerges from the interplay of spontaneous bouts of irrational confidence and distortive, after-the-fact impositions of spurious meaning. Stories create (illusory) identities, elicit (dubious) hopes, and reinforce (false) assumptions in order to help us cope with the agonies of anticipation and loss, and to transform misfortune, accident, and misery into reward, retribution, and meaning—that is, in a comedy of trauma.
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Dackombe, Amanda Marie. "Making thought visible : colour in the writings of Virginia Woolf, Dorothy Richardson, Samuel Beckett and T.S. Eliot." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28586.
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This thesis explores colour as a philosophical means of transit between literature and the visual arts. I explore a new way of thinking about the self and about thought, developmg the significance of colour alongside, and internal to, modes of representation in the modernist movement. The interaction of art and literature is crucial to much debate on modernist aesthetics. DevelopIng the debate into the history of colour phenomena, I argue that colour aHows a philosophical inflection to certain clich6s (such as stream-of-consciousness) that are attached to modernist writing. In the work of Virginia Woolf, Samuel Beckett, Dorothy Richardson and TS Eliot, I argue that the modernist preoccupation with the seeming unpasse between thought and representation can be seen to be 'made visible' through the theme of colour. Colour is a vehicle through which to explore the relation between thought and perception, subject and object, and offers a new way of engagement with recent research into theoretical comparisons between thinking, writing and visual arts.
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Audigier, Jean-Pierre. "Autorite et enonciation : defoe, richardson, fielding, sterne, ou le roman (anglais) de l'origine." Paris 8, 1986. http://www.theses.fr/1986PA080031.
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Il s'agit, au-dela de la specificite du roman anglais, d'apporter une contribution a la grammaire de l'enonciation et a la typologie du discours romanesque en general. Cela a travers: quatre categories servant de crible a l'analyse du discours (interlocuteurs, ordre, figures, temporalite); et une opposition radicale entre un discours "autorise" soucieux de faire comme si l'enonciation ecrite etait immediate, et un discours "autoritaire" proclamant au contraire sa mediatete fondamentale. 1. Discours autorise. 1. 1. Defoe: pseudo-autobiographie et autorisation du "je". Au-dela de l'absence d'auteur, "je" tend a accaparer tous les roles. Ce discours de neophyte, paradoxal, se fonde sur des idiosyncrasies negatives. L'origine fait de l'enonce une metaphore de l'enonciation. Il jouit d'une dyschronie et d'une programmation specifiques. 1. 2. Richardson: epistolarite et autorisation du "tu". L'absence d'auteur se double de l'absence de lecteur. Economie paradoxale et morcelement deplacent l'origine du cote de la 2eme personne. La lettre est a la fois metaphore et metonymie du sexe. Temporellement il y a a la fois synchronie et differement. 2. Discours autoritaire : fielding. Le narrateur, investi de tous les pouvoirs et savoirs, occupe le sommet de la hierarchie. La digression, prerogative autoritaire, met en jeu le principe d'identite. Le voyage fait de l'enonce une metaphore de l'enonciation. Les temps de l'aventure et de l'ecriture sont subordonnes a celui de l'ecriture. 3. L'autorisation autoritaire: sterne. La crise du sujet provient du cumul intenable des deux postures precedentes. La digression, subie, devient passive. Enonce et enonciation sont unis par deux metaphores: la castration et la guerre. La dyschronie est double, le temps a la fois ralenti et accelereWhat is aimed at, beyond the specific englishness of those novels, is some step towards a grammar of literary enunciation. Four categories are used as a pattern for speech analysis (interlocutors, order, figures, time-schemes); plus a basic opposition between "authorized" speech (writing as if written enunciation were immediate) and "authoritary" speech (openly displaying its inherent mediacy). 1. Authorized speech. 1. 1. Defoe: pseudo-autobiography as lst person authorization. There is no such thing as an author; "i" tends to play all the parts. The speech paradoxically relies upon its unprofessionality. The motif of the "origin" turns the story into a metaphor of its enunciation. A specific dyschronism leads to a specific kind of suspense. 1. 2. Richardson: epistolary novel as 2nd person authorization. No author, but no reader either. Broken as it is, the speech proves to be eventually originated by its destinee. The letter is both metaphor and metonymy of the female sex. The attempt at synchronism combines with a systematic procrastination towards a specific suspense. 2. Authoritary speech : fielding. The omnipotent and omniscient narrator rules over the whole hierarchy. Digression, an authoritary prerogative, questions the very principle of identity. Travelling turns the story into a metaphor of its enunciation. Events and reading are temporally enslaved to writing. 3. Authoritary authorization: sterne. The problem of the self reaches a climax through the conflicting combination of the two previous attitudes. Digression, by now passive, entails a new species of writing and reading. Castration and war act as two metaphorical hinges between the story and its enunciation. Dyschronism is twofold; time is both speeded up and slowed down
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Simonova, Natalia. "Works of another hand : authorship and English prose fiction continuations, 1590-1755." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9572.
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This dissertation explores the development of prose fiction continuations from Sir Philip Sidney’s Arcadia to the novels of Samuel Richardson. Examining instances in which a text was continued by someone other than its original author, I ask precisely what this distinction means historically: what factors create a system of literary value in which certain continuations are defined as ‘spurious,’ and how does the discourse surrounding these texts participate in changing attitudes toward authorship, originality, and narrative closure? My work thus contributes to recent critical efforts to historicise authorship and literary property, using prose fiction examples that have not previously been discussed in this context. Analysing the rhetorical strategies found within paratextual materials such as prefaces, dedications, and advertisements, I establish how writers of continuations discuss the motivations for their works, how these are marketed and received, and how the authors of the source texts (or their representatives) respond to them. Through close reading, the dissertation traces the development of persistent metaphors for literary property across these texts, focusing on images of land, paternity, and the author’s ‘spirit.’ The introductory chapter addresses these metaphors’ significance, defines the main elements of continuations, and situates them within the historical context of a growing print marketplace and developments in copyright law. The dissertation then presents a series of case studies of the most documentarily-rich instances of continuation across the period. Starting with The Countess of Pembroke’s Arcadia, published posthumously in an incompletely-revised form, Chapter 2 shows how its gaps allowed other writers to continue the story, while Chapter 3 studies the metaphorical approaches to authorship taken in the continuations’ paratexts. Chapter 4 examines two Restoration texts, The English Rogue and The Pilgrim’s Progress, which combine the Arcadia continuations’ concern about the author’s honour with issues of commercial competition. The intersection of profit, reputation and copyright protection brought out in this chapter is reflected in the subsequent discussion of the career of Samuel Richardson. Chapter 5 shows him responding to public challenges to his authorial control following the success of Pamela, whereas Chapter 6 explores the more private assertions of authority taking place within Richardson’s correspondence during the publication of Clarissa and Sir Charles Grandison. Finally, my conclusion summarises the subsequent legal and critical privileging of original over continuation, emphasising the historical contingency of this process. The broad chronological scope of the dissertation allows the frames of all these texts to inform each other for the first time, crossing the established critical boundary between the ‘romance’ and the ‘novel.’ This approach reveals continuities as well as differences, enabling me to construct a more nuanced picture of Early Modern approaches to prose continuations and authorial ownership. In establishing links between law and literature, the project also provides an important historical context for contemporary debates about copyright, fanfiction, and literary property.
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Dulong, Angelina. ""I am Pamela, her own self!”: Psychosocial and Moral Development in Samuel Richardson’s Pamela." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8932.
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This paper examines Samuel Richardson's 1740 novel Pamela through two modern models of adolescent development: moral development (Kohlberg and Turiel) and psychosocial development (Erikson, Marcia, and Luyckx et al.). It argues that the novel's eponymous heroine is a complex character who moves beyond the simple stereotypes, being neither a perfect model of feminine virtue nor a coquette on the prowl for a wealthy catch. By examining the developmental arcs Pamela experiences in the novel, it is possible to read her as a typical teenage girl who achieves virtue through errors and growth rather than a static character whose virtue (or simulacrum of it) maintains a flatline.
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Johnston, Elizabeth. "Competing fictions eighteenth-century domestic novels, women writers, and the trope of female rivalry /." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4149.
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Thesis (Ph. D.)--West Virginia University, 2005.Title from document title page. Document formatted into pages; contains v, 297 p. Vita. Includes abstract. Includes bibliographical references (p. 283-294).
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Koehler, Martha J. "Paragons and parasites : narrative disruptions and gender constraints in epistolary fiction /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9438.
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Stamoulis, Derek Clarence. "In pursuit of virtue : the moral education of readers in eighteenth-century fiction /." Title page, contents and preface only, 1991. http://web4.library.adelaide.edu.au/theses/09ARM/09arms783.pdf.
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Prokisch, Peter. "Fanatics, Hypocrites, Christians - Katholiken als stereotype Romanfiguren bei Richardson, Lewis, Radcliffe und Maturin : Vorformen, Darstellung und Funktion /." Hamburg : Kovač, 2005. http://swbplus.bsz-bw.de/bsz121555038cov.htm.
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Plaskitt, Emma L. "'The beauteous frame' : the treatment of female sexual reputation in selected prose by Eliza Haywood, Samuel Richardson and Frances Burney." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323784.
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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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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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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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Leuschner, Eric D. "Prefacing fictions : a history of prefaces to British and American novels /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144435.
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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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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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Catto, Susan J. "Modest ambition : the influence of Henry Fielding, Samuel Richardson and the ideal of female diffidence on Sarah Fielding, Charlotte Lennox and Frances Brooke." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297328.
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Trew, Esther Maxine [UNESP]. "Personagens femininas nos primórdios do romance moderno: Pâmela e Júlia, ou A nova Heloísa." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/102391.
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Apesar de obter sua maior projeção no século XIX, o gênero romance já se destacava no horizonte literário europeu do século XVIII e apresentava grandes transformações. Ele se firmou em meio a mudanças sociais, políticas e econômicas importantes. Este estudo focaliza duas obras desse período, Pâmela escrita por Samuel Richardson e Júlia, ou A nova Heloísa escrita por Rousseau, na Inglaterra e França, respectivamente, e considera características do gênero emergente como individualismo, sentimentalismo e moralismo que são destacadas nas duas obras. São realizadas também análises de aspectos como personagens, tempo e espaço, entre outros, a fim de verificar como essas categorias da narrativa se manifestavam na época no gênero nascente. O contexto em que as duas narrativas foram produzidas é também descrito e busca-se determinar sua influência enquanto elemento fundamental para a constituição do gênero. Por outro lado, a representação da mulher nessas duas obras é focalizada de maneira a demonstrar que o romance, ao mesmo tempo em que retratava a sociedade que o produzia e a posição que a mulher ocupava nela, ajudou também a forjá-la, alterando-lhe os conceitos e os comportamentos. A análise da mulher parte da representação feita em Pâmela e Júlia, ou A nova Heloísa no que se refere ao casamento, ao sentimento e à morte delas enquanto personagens femininas criadas por escritores homens.
Although the novel achieved its maturity in the nineteenth century, it was already present in the literary landscape during the previous century. It became consolidated in a time of important social, political and economic changes. This study focuses on two novels of this period, Pamela, by Samuel Richardson and Julie, or The new Heloise written by Rousseau and published in England and France, respectively, and considers characteristics of the new literary genre, such as individualism, sentimentalism and moralization, each pointed out in the two works. Other aspects such as characters, time and space are analyzed with the objective of observing how they were manifested in the period when the novel was appearing as a genre. The context where the two narratives were produced is also described so as to determine its influence as a fundamental element in the constitution of the novel. The representation of the woman in these two works is also considered as a means to show that the novel, even while reflecting the society that produced it, also helped to mold it. The analysis of the woman is based on the representation in Pamela and Julie, or The new Heloise in as much as it considers their marriage, sentiment and death as female characters created by authors who were men.
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Woof, Lawrence. "Italian opera and English oratorio as cultural discourses within eighteenth-century English literature, with particular reference to the novels of Samuel Richardson and Fanny Burney." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282170.
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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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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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