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1
Lasne, Sandra. "Modèles et sujet : Laurence Sterne, 1713-1768, lecture épistémocritique /." Montpellier : Presses universitaires de la Méditerranée, 2008. http://catalogue.bnf.fr/ark:/12148/cb41340885c.
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Texte remanié de: Thèse de doctorat--Études anglo-américaines--Montpellier 3, 2000. Titre de soutenance : Modèles du sujet dans l'oeuvre romanesque de Laurence Sterne : illustrations et perversions.Bibliogr. p. 307-356. Index.
2
Stewart, Neil. ""Glimmerings of wit" : Laurence Sterne und die russische Literatur von 1790 bis 1840." Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2643518&prov=M&dokv̲ar=1&doke̲xt=htm.
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3
Montandon, Alain. "La Réception de Laurence Sterne en Allemagne /." Clermont-Ferrand : Association des publications de la Faculté des lettres et sciences humaines, 1986. http://catalogue.bnf.fr/ark:/12148/cb34843471g.
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4
Kim, Chunghee. "Laurence Sterne and an ethics of pleasure." Thesis, Birkbeck (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267532.
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This thesis proposes that an ethics of pleasure informs the destabilising elements of Sterne's texts, delineated through the peculiar energies and vitality in his jesting narrative voice. I demonstrate the Sternean synthesis of two problematic principles, ethics and pleasure, incompatible for the modem mind but complementary for Eighteenth century moralists. Sterne's configuration of ethical pleasure can be differentiated from those of major moral discourses of the seventeenth and eighteenth century: 1) by his distinctive ethical position which enfranchises laughter, gaiety, and mirth which his contemporaries underplay; 2) through a Rabelaisian humour which Bakhtin sees as exemplifying signs of Renaissance folk and peasant culture, so creating a distance from the progressivistic zeal of the Enlightenment; 3) in his conjunction of Fideistic scepticism with Rabelaisian grotesque, which absorbs and transfigures a sense of the plenitude and the inexplicability of nature. The first chapter examines Sterne's incorporation of a "heteroclite" perspective into orthodox latitudinarian theism in his sermons, in the specific forms of his selectiveness in adaptations or borrowings from various divine homilies. The second chapter compares his ethics of pleasure with major contemporaneous moral discourses, focusing on the production of different moral frameworks through differing perceptions of man's place in nature. The third chapter locates Sterne's formulation of text and narrative in a material presence of communion and fellow-feeling among disparate sUbjectivities. The fourth chapter investigates the ethical significance of Sterne's particular use of laughter, in which he tries to re-enact the laughing spirit of Rabelaisian grotesque with partial success, thus suggesting his comic spirit be identified as Romantic grotesque. A fmal chapter concludes with Sterne's attempt to test his ethics through interlocution and engagement with strangers in A Sentimental Journey, charting the pragmatic obstacles to a praxis of love for the concretised being.
5
Gama, Vítor Castelões. "Laurence Sterne e Luiz Ruffato : convergências/divergências." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/31387.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-03-05T16:13:00Z No. of bitstreams: 1 2017_VítorCastelõesGama.pdf: 1983901 bytes, checksum: 8543235d8096a137fd0576ef7f3bb90e (MD5)
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Considerando o apreço que Luiz Ruffato demonstrou por Laurence Sterne, objetiva-se entender as convergências entre as obras dos autores. Para tanto, procede-se à análise bibliográfica dos romances “A vida e as opiniões do cavalheiro Tristram Shandy” e “Eles eram muitos cavalos” em relação ao gênero da sátira menipeia e às outras artes como o cinema, a poesia, a música e o teatro. Observa-se o percurso da menipeia nas obras dos autores com o aporte de teóricos como Mikhail Bakhtin, Northrop Frye, José Guilherme Merquior e Enylton José de Sá Rego para apontar as similaridades e dessemelhanças em suas construções. É necessário ressaltar que este gênero agrega um questionamento social aos autores por discutir também a relação entre literatura e realidade. Questão aprofundada pelos autores também pelo amplo uso de técnicas provenientes de outras artes, por esse motivo as obras são consideradas como híbridas. Para trabalhar esse conceito seguimos com base no antropólogo Néstor Garcia Canclíni. É de importância na análise o conceito de performance, pois na tessitura das obras há um trabalho de mediação com os leitores realizado pela materialidade do livro e por um estilo tipográfico. Este conceito é balizado pelo entendimento de Paul Zumthor, e outros pensadores como Renato Cohen e Regina Melim. Por fim, conclui-se que apesar do distanciamento de séculos entre os autores há um intenso diálogo entre as obras que se iluminam mutuamente e demonstram a utilidade da tradição na vanguarda da literatura contemporânea brasileira.
Considering the appreciation Luiz Ruffato showed for Laurence Sterne. We intend to understand the similitaries between the authors works. Therefore, we proceed to a bibliographical analysis of the novels “The life and opinions of Tristram Shandy, gentleman” and “They were many horses” in comparison to the menippean satire and the cinema, poetry, music and drama. With the theoretical groundwork of Mikhail Bakhtin, Northrop Frye, José Guilherme Merquior and Enylton José de Sá Rego we take notice of the mennipean satire influence in the analysed novels to discover correlations and dissimilarities between them. It is necessary to point out that this literary gender brings a taste for social criticism by discussing also the relation between literature and reality. Which is further questioned by the intense use of techniques derived from other arts. Because of this usage “Tristram Shandy” and “They were many horse” are considered hybrid novels. To work with hybridization we approach the thought of Néstor Garcia Canclini. It is also important the concept of performance, because in the making of the novels there are a personalized form of mediation with the reader and a typographical style. This concept is based in Paul Zumthor’s theory and other authors like Renato Cohen and Regina Melim. In the end, we conclude that in spite of the centuries apart there is an intense dialogue between the authors and their works that demonstrate the usefulness of tradition in contemporary brazilian literature vanguard.
6
Hopmann, Erika Sophie. "Die Organisation der Sinne : Wahrnehmungstheorie und Ästhetik in Laurence Sternes Tristram Shandy /." Würzburg : Königshausen und Neumann, 2008. http://catalogue.bnf.fr/ark:/12148/cb412762848.
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Okuroglu, Sule. "An Analysis Of Metafictional Self-reflexivity In Laurence Sterne." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/3/12606560/index.pdf.
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This thesis evaluates metafictional self-reflexivity, and presents it within the scope of certain structuralist and post-structuralist approaches especially by referring to William Gass&rsquodefinition of metafiction and Raymond Federman&rsquo
s theories on the devices of metafiction. Then aspects of the works of William Gass&rsquo
Willie Master&rsquo
s Lonesome Wife and Laurence Sterne&rsquo
s The Life and Opinions of Tristram Shandy are discussed within this framework.
8
Newbould, Mary-Céline. "Parody in eighteenth-century literature, in particular Laurence Sterne." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613260.
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Freitas, Luana Ferreira de. "Tradução comentada de a Sentimental Journey de Laurence Sterne." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/90444.
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Tese (doutorado) - Universidade Federal Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Made available in DSpace on 2012-10-23T10:32:55Z (GMT). No. of bitstreams: 1 245431.pdf: 928718 bytes, checksum: 8b1a65cb376297825a0b63a29bbbb200 (MD5)
Este trabalho parte da tradução de A Sentimental Journey, de Laurence Sterne, para fazer um exame de questões ligadas à narrativa quando confrontadas com a necessidade da tradução. Para tal, serão consideradas a oscilação entre o sentimental e o humor e a fronteira sutil que os separa ao longo do romance, a ironia, a paródia, bem como as estratégias adotadas na tradução proposta e em outras já publicadas no Brasil This study will look at the translation of Laurence Sterne's A Sentimental Journey and examine certain translational issues arising from the narrative. These include the oscillation between sentimental and humorous elements and the fine line that separates them throughout the novel, use of irony, parody, and also translational strategies adopted by the author, and by others in previous translations of the work in Brazil.
10
FREITAS, Luana Ferreira de. "Tradução comentada de A sentimental Journey de Laurence Sterne." Universidade Federal de Santa Catarina, 2007. http://www.repositorio.ufc.br/handle/riufc/17993.
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FREITAS, Luana Ferreira de.Tradução comentada de A sentimental Journey, de Laurence Sterne, 2007. 141f. – Tese (Doutorado) – Universidade Federal de Santa Catarina, Curso de Pós-Graduação em Literatura, Florianópolis (SC), 2007.Submitted by anizia almeida (aniziaalmeida80@gmail.com) on 2016-06-17T13:04:27Z No. of bitstreams: 1 2007_tese_lffreitas.pdf: 928718 bytes, checksum: 8b1a65cb376297825a0b63a29bbbb200 (MD5)
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This study will look at the translation of Laurence Sterne’s A Sentimental Journey and examine certain translational issues arising from the narrative. These include the oscillation between sentimental and humorous elements and the fine line that separates them throughout the novel, use of irony, parody, and also translational strategies adopted by the author, and by others in previous translations of the work in Brazil.
Este trabalho parte da tradução de A Sentimental Journey, de Laurence Sterne, para fazer um exame de questões ligadas à narrativa quando confrontadas com a necessidade da tradução. Para tal, serão consideradas a oscilação entre o sentimental e o humor e a fronteira sutil que os separa ao longo do romance, a ironia, a paródia, bem como as estratégias adotadas na tradução proposta e em outras já publicadas no Brasil.
11
Gourdon, G. L. "Time and space in 'Tristram Shandy' and other eighteenth century novels : the issues of progression and continuity." Thesis, University of Sheffield, 2003. http://etheses.whiterose.ac.uk/14724/.
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The thesis argues that the narratives of the eighteenth-century novels selected for this study demonstrate a conscious manipulation of time and space, and that the consequence of this manipulation is to provide the reader with a unique literary journey through the text. The thesis, in its analysis and comparison of these distinctive journeys, chooses to focus on the narrative techniques which facilitate or hamper progression and continuity within the texts. It particularly concentrates on the impact of these narrative techniques on the reading experience. The first chapter studies and compares texts resorting mainly to the present tense with those predominantly written in the past tense. It examines the effects of the tense used in the narration on the reader's engrossment in the fiction. The second chapter concentrates on the repercussions of the author's choice of a beginning and an ending for his story on the nature of the progression of the narrative. The third chapter is devoted to the destabilising reading journey offered by Tristram Shandy. It examines the numerous techniques which react against continuity and progression in time and in space, and the narrator's motivation behind their use. It shows how the narrative choices of Tristram Shandy place the reader face to face with his own act of reading. The fourth and final chapter is concerned with the role and the status of fictional footnotes in some eighteenth-century prose fictions. It demonstrates the fictional nature of the footnotes in Tom Jones. It argues that fictional footnotes affect the reader's progression across the text in time and in space as well as his understanding of the work of fiction, and this in a fundamental way.
12
Cotton, Christopher Adrian. "War and the body in the work of Laurence Sterne." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598059.
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The military theme epitomizes Tristram Shandy’s intolerance of systematic interpretation. Sterne recognizes the heterogeneity of war and is preoccupied with various military strategies, technologies, and paradigms, all of which have specific implications. Sterne renders the spatial and physical properties of these elements of war by displaying their effects on the body. He also manipulates narrative form to express this spatiality. In Part 1, an interplay between generic and military developments is theorized and the unique suitability of the novel for rendering modern warfare is postulated. The numerous wars mentioned in Tristram Shandy are then surveyed. Besides the provision of historical detail, the arrangement of this material, its tendency to reflect issues pertaining to Sterne’s conceptual treatment of war, is examined. Part 2 concerns Sterne’s handling of the aspects of war that are a product of rationalism. In Tristram Shandy, Sterne demonstrates how the body is often restrained and victimized in the course of attempts to assimilate it to military systems. An implicit linkage between rationalism itself and bellicosity is apparent in Walter Shandy’s theories and projects. Sterne also the matrixes the corollaries of military rationalism, in particular the development of long-range projectile warfare and the action of military discipline and mechanization. The counter-rational aspects of war are explored in Part 3. Sterne regularly depicts war as chaotic and labyrinthine. The amorphous parts of war are more congenial to the body than the rationalistic facets, admitting of its fluidity and reanimating it. Tristram’s narrative is also informed by principles of nonlinear warfare. In conclusion, the effect of the dissipation of the pronounced physical and spatial presence of war is considered. In A Sentimental Journey, Sterne presents a series of fragile veterans and suggests, through Yorick, a restitution of the virtues of chivalry and gallantry that had been largely negated by modern war.
13
Hopmann, Erika Sophie. "Die Organisation der Sinne Wahrnehmungstheorie und Ästhetik in Laurence Sternes Tristram Shandy." Würzburg Königshausen & Neumann, 2005. http://d-nb.info/987674560/04.
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Finer, Emily. "Viktor Shklovskii and Laurence Sterne : literary reception in theory and practice." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612072.
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Trigo, Aline Candido. "Tristram Shandy, de Laurence Sterne : entre a tradição e a ruptura." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000208729.
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Esta pesquisa tem por objetivo analisar o romance A vida e as opiniões do cavalheiro Tristram Shandy (The life and opinions of Tristram Shandy, gentleman), do escritor irlandês Laurence Sterne, a partir de sua relação com a tradição e a ruptura desta, à luz de diversos teóricos que contribuirão para pensarmos as relações da obra principalmente com as noções de realismo, modernidade, metaficção, hibridismo de gênero, paródia, autoconsciência dentre outros elementos presentes na obra. Por tratar-se de um romance que tem por narrador e protagonista uma personagem que se posiciona como escritor de sua própria vida e opiniões, perpassa pelo texto a discussão das formas convencionais da literatura, bem como das diversas perspectivas teóricas sobre os gêneros literários. Diante disso, propomos investigar a estruturação do romance e estabelecer contrapontos com as tendências literárias do século XVIII. No mesmo sentido, ao estudarmos a estrutura heterogênea da obra, buscamos evidenciar o diálogo consciente que Sterne estabelece, a partir do modo pelo qual Tristram narra sua vida e sua composição romanesca, com elementos que são convencionais ao gênero teatral. Para isso, amparamos nossa discussão, primeiramente, em trabalhos acadêmicos e críticos sobre o romance em questão, dentre os quais, a título de exemplo, Jorge de Sena, Nícea Nogueira, Sérgio Paulo Rouanet e Luiz Costa Lima. Para pensarmos a composição híbrida da obra, bem como seu caráter dialógico e os elementos como paródia, intertextualidade e metaficção, nos orientamos pelas perspectivas teóricas de Mikhail Bakhtin e Linda Hutcheon; os trabalhos de Joan DeJean, Massaud Moisés e outros são utilizados para estudarmos as diversas perspectivas teóricas da literatura que se fazem presente na construção de Tristram Shandy, enquanto um movimento de recusa e aceitação das normas, num procedimento crítico e reflexivo; as teorias de Ian Watt, ao lado de outros diversos estudos, embasam a apresentação dos traços característicos da literatura inglesa do século XVIII e as transformações da noção de realismo na literatura, ao longo dos tempos; para entendermos a atuação da personagem do protagonista, que, enquanto narrador e escritor, desordena as convenções narrativas, nos pautamos nas perspectivas de Walter Benjamin e Theodor Adorno, entre outros, para refletirmos sobre suas formas. Por fim, para a análise da presença das formas teatrais no romance de Sterne, buscamos respaldo nas teorias de Umberto Eco, acerca da compreensão do leitor, elemento importante na obra do romancista, e dos autores que discutem os procedimentos em voga no período setecentista, como é o caso de Roger Chartier e do canadense Alexander Jhon Dick, com sua dissertação de mestrado, e demais pesquisadores que abordam as teorias do teatro e a interação com o leitor.The aim of this research is to analyze the novel The life and opinions of Tristram Shandy, gentleman, written by the Irish Laurence Sterne, from its relationship with the tradition versus rupture, in light of several theories that will help us to see the relations between the novel and the conceptions about realism, modernity, metafiction, hybrid genre, parody, self-consciousness and other elements present in the work. As being a novel that has by narrator and protagonist a character, which is the writer of his own life and opinions, runs throughout the text the discussions about conventional forms of literature and also multiple theoretical perspectives on literary genres. Therefore, we propose to investigate the structure of the novel and stablish counterpoints with the literary trends of the eighteenth century. In the same way, by studying the heterogenic structure of the novel, we seek highlight the conscious dialogue that stablishes Sterne, from the way in which Tristram narrates his life and his novelistic composition, with elements that are conventional to the theatrical genre. For this, we support our discussion, first of all, in academic and critical works about the novel in question, among which, for example, Jorge de Sena, Nícea Helena de Almeida Nogueira, Sérgio Paulo Rouanet e Luiz Costa Lima. To think the hybrid composition of the novel, among its dialogical character and the elements like parody, intertextuality and metafiction, we are guided by the theoretical perspectives of Mikhail Bakhtin and Linda Hutcheon; the works of Joan DeJean, Massaud Moisés and others are used to our study of the various theoretical perspectives of literature that are present in the construction of Tristram Shandy, while a refusal movement and acceptance of standards, a critical and reflective procedure; theories of Ian Watt, alongside several other studies underlie the presentation of the characteristic features of English literature of the eighteenth century and the transformations of realism notion in literature throughout the ages; to understand the role of the protagonist's character, who, as narrator and writer, clutters the narrative conventions, we are based in the perspectives of Walter Benjamin and Theodor Adorno, among others, to reflect on their ways. Finally, to analyze the presence of theatrical forms in Sterne's novel, we support our point view by the theories of Umberto Eco, concerning the reader's understanding, an important element in the novelist's work, and also of the authors who discuss the procedures in vogue in the eighteenth century period, like Roger Chartier and the Canadian Jhon Alexander Dick, with his dissertation, and other researchers who discuss theories of theater and interaction with the reader/spectator.
16
Descargues-Grant, Madeleine, and Laurence Sterne. "Correspondances : étude critique de la correspondance de Laurence Sterne dans son oeuvre." Paris 3, 1993. http://www.theses.fr/1993PA030118.
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La recherche entreprise porte sur la correspondance de sterne dans l'ensemble de son œuvre littéraire, des textes aux romans. Il s'agit ici d'étudier l'auteur en tant que sujet fictionnel : l'instance entre l'homme et le texte qui parle par ses persona aux dix-huitième siècle, les lettres, réelles ou fictives, se prêtent a la recherche de soi dans des formes d'expression qui se réclament de l'art du naturel. Sterne épistolier veut incarner la sensibilité et l'humour de Tristam et de yorick. C’est le "portrait de l'épistolier en auteur," première partie de la thèse. L’ironie de sterne, conscient de n'exister que par le jeu de sa propre rhétorique, l'invite a une expérience approfondie de son intériorité, nécessaire a la poursuite de l'entreprise fictive. La deuxième partie examine donc la version shandeenne de l'angiguite de la conscience de soi, des mémoires au journal to Eliza, soit "les malheurs du sujet, rapports inconstants de sterne avec l'autobiographie. " enfin la légèreté apparente de Tristram et de Yorick se fonde sur la foi en une communication aimante et aimable, poursuivant dans la vie le dialogue des romans. Le temps vécu sur le mode de l'instant prend son sens par la recherche des rencontres amicales et amoureuses, conditions de la révélation esthétique et morale du bonheur, toujours inachevé, au fil du texte. C’est "l'éthique et le jeu de la communication," troisième partie de la thèse. La correspondance permet ainsi d'appliquer à l'œuvre de sterne son propre principe de digression et d'y voyager a la recherche d'un sens qui ne saurait être circonscritSterne's correspondence is considered here within the whole of his literary works, including his minor texts. The study focuses on the writer's fictional self, halfway between the man and his text, speaking through bis personae. In the eighteenth century, whe ther real or fictional, letters encourage self-analysis and what is termed absence of affectation. As a letter writer, Sterne's wish is to epitomize tristaram and yorick's humour and sensibility. The first part of the research therefore draws a "portrait of the letter writer as an author. " ironically conscious of being the product of his own rhetorical game, sterne feels the need for further exploring his inner self to pursue his fictional enterprise. Sothe second part-"misfortunes of the self : Sterne's fickle relationship with autobiography"-- deals with the shandean version of the ambiguity of self-consciousness, from the memoirs to the journal to Eliza. Tristram and Yorick's flippancy is but the pose of Sterne's belief and faith in communication : the latter should be loving and agreeable, the dialogue of the novels being continued in real life. Time is the chase of the fleeting instanty, laden with amorous or amicable encounters, revealing moral or aesthetic happiness as the text goes by. This is analysed in the third part of the study, "communication as ethics and play. " in fact Sterne's correspondence enables the reader to mirror Sterne, forever digressing in a meaningful manner
17
Patrick, Duncan W. "Libertinism and deism in Tristram Shandy and other writings of Laurence Sterne." Thesis, University of Leicester, 2002. http://hdl.handle.net/2381/30274.
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This thesis explores and develops themes first outlined in my earlier MA dissertation, Two Sentimental Novels, and it should be noted that the argument set out in either study greatly augments and supports that of the other. After a brief review of Sterne's life, looking particularly at his familiarity with libertines, the study moves on to consider the long critical tradition that has associated Sterne's work with libertine and deistic ideas. The same themes are described as they occur in a selection of illustrations, including those from an early pornographic edition of Tristram Shandy, and the first section concludes with a brief review of the way Sterne himself has been seen by various critics to be making subtle allusions to unorthodox sources. This section strenuously critiques the notion that Sterne's work can be regarded as an expression of his professed Anglicanism. The second section first reviews three of Sterne's lesser-known compositions in which such ideas are also strongly noticeable, and after a short preamble on textual strategy, turns at last to Tristram Shandy. The remainder of the study comprises a close reading of the text, particularly those parts of it than deal with life at Shandy Hall. Close attention is paid throughout to chronology which is regarded as the dominant structuring principle, and mapped out fully in an appended table. This section offers a very radical reinterpretation of the text, challenging established ideas while noting many connections with the material explored in the first section. The argument accumulates and is presented as a series of character studies, each of which draws to its own conclusion, rather than towards a conventional concluding chapter.
18
Burns, Anthony Louis. "Re-Envisioning an Eighteenth-Century Artifact: A Postmodern Reading of Tristram Shandy." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84181/.
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The interjection of a new and dynamically different reading of Lawrence Sterne’s Tristram Shandy is imperative, if scholars want to clearly see many of the hidden facets of the novel that have gone unexamined because of out-dated scholarship. Ian Watt’s assumption that Sterne “would probably have been the supreme figure among eighteenth-century novelists” (291) if he had not tried to be so odd, and the conclusion that he draws, that “Tristram Shandy is not so much a novel as a parody of a novel” (291), is incorrect. Throughout the thesis, I argue that Sterne was not burlesquing other novelists, but instead, was engaging with themes that are now being examined by postmodern theories of Jacques Derrida, Michel Foucault, and Jean François Lyotard: themes like the impenetrability of identity (“Don’t puzzle me” (TS 7.33.633)), the insufficiency of language (“Well might Locke write a chapter upon the imperfections of words” (5.6.429)), and the unavailability of permanence (“Time wastes too fast” (9.8.754)). I actively engage with their theories to deconstruct unexamined themes inside Tristram Shandy, and illuminate postmodern elements inside the novel. However, I do not argue that Tristram Shandy is postmodern. Instead, I argue that if the reader examines the novel outside of its usual context inside the eighteenth-century novel, there are themes that are apparent in the narrative which have gone unexamined because of the way it has been classified inside academia, and that postmodernist theory allows for these themes to be re-examined in the postmodern culture in which we now reside.
19
Oakley, Warren Lee. "A culture of mimicry : Laurence Sterne, his readers and the art of bodysnatching." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438595.
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Tadié, Alexis. "Approche pragmatique de Tristam Shandy de Laurence Sterne : problèmes de l'énonciation et de la référence." Paris 10, 1987. http://www.theses.fr/1987PA100111.
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Ce travail analyse Tristram Shandy à partir de la pragmatique, et considère le texte comme un objet linguistique. Il explore donc l'usage du langage dans le roman. Un premier chapitre montre de quelle façon s'organisent les énonciations des personnages, et souligne leur inaptitude à communiquer. Le deuxième chapitre aborde la perspective du personnage-narrateur et de ses dispositifs énonciatifs en mettant en valeur la parente (linguistique) de Tristram avec les autres personnages. Le troisième chapitre, plus théorique, étudie ce non-fonctionnement général du langage dans le cadre du récit et en montre les conséquences sur la nature du texte. Le dernier chapitre élargit le débat en situant le roman au sein de la tradition linguistique du XVIIIème siècle et en faisant apparaitre un rêve linguistique de Tristram ShandyThe thesis deals with Tristram Shandy from the point of view of the philosophy of language, viewing the text as a linguistic object of analysis. It is an investigation of the use of language in the novel. The first chapter shows the organization of the characters' utterances, and emphasizes their inability to communicate with each other. A second chapter broadens the scope and shows, through the utterances of the narrator, Tristram's linguistic kinship with the other characters. The third, more theoretical, chapter deals with the general breakdown of communication within the framework of the novel and shows its consequences upon the nature of the text. The last chapter places the whole analysis within the context of eighteenth century linguistics and tries to underline the new approaches introduced by the novel
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Labrude, Estenne Jacqueline. "Médecins et médecine dans l'oeuvre romanesque de Tobias Smollett et de Laurence Sterne : 1748-1771 /." Paris : Presses de la Sorbonne nouvelle, 1995. http://catalogue.bnf.fr/ark:/12148/cb36153512h.
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Lasne, Sandra. "Modéles du sujet dans l'oeuvre romanesque de Laurence Sterne (1713-1768) : illustrations et perversions." Montpellier 3, 2000. http://www.theses.fr/2000MON30026.
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Green, Peter Geoffrey. "'All Job's stock of asses' : the fiction of Laurence Sterne and the theodicy debate." Thesis, Open University, 2010. http://oro.open.ac.uk/23430/.
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This thesis argues that Sterne's fiction is an ambiguous representation with religious and libidinal subtexts of a struggle to give a coherent metaphysical account both of the significance of compassion for suffering and of causality. This implies that Sterne's fiction cannot be fully understood without reference to eighteenth-century arguments about the compatibility of belief in the power and goodness of God with the existence of evil otherwise known as the theodicy debate. This becomes clear when analysed with Slavoj 'i–ek's concept of the fetish: the lie which enables one to live with an unendurable truth. The thesis is organised into six chapters. After setting Sterne's fiction in the context of contemporaneous theodicies, these examine in turn its theodictic features, its narrative procedures, its representations of mortality and class hierarchy, and its relationship to Sentimentalism. It shows that in each of these areas two of the major themes of contemporaneous theodicies are also fetishised subtexts in Sterne's fiction: the religious attachment to the Newtonian idea of a perfectly ordered cosmos and the anxiety that the unmanaged appetite for pleasure might provoke divine displeasure. An array of concepts from 'i–ek identify the theodictic implications of the fictions – the author as the omniscient 'subject supposed to know�; the 'Master-Signifier' that is meant to define the narrator's role but fails because of a repressed remainder that it cannot encompass; the mechanisms by which subjects interpret experiences as messages from the divine; the idea of language as a reality that can outlive the subject; and the theory that the prospect of rational social order can be psychologically unendurable. Sterne's fiction highlights the fact that fiction often trades on the reader's need for comprehensible patterns of causality: its refusal to provide this is theodictic and this fact has hitherto received no extended critical attention.
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Lockard, Amber Marie. "Wit and sentiment : the spirit of Shandeism in a speechless world /." Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.
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Norris, Elaine Alison. "Bull, cock, and colony in the Anglo-Irish novels of Maria Edgeworth and Laurence Sterne." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.
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Tadié, Alexis. "Approche pragmatique de "Tristram Shandy" de Laurence Sterne problèmes de l'énonciation et de la référence /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610099g.
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LABRUDE, ESTENNE LABRUDE JACQUELINE. "Medecins et medecine dans l'oeuvre romanesque de tobias smollett et de laurence sterne (1748-1771)." Paris 3, 1992. http://www.theses.fr/1992PA030115.
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L'idee de cette these est nee de la recurrence du theme de la medecine dans les romans du 18e siecle anglais. Cette etude interdisciplinaire entend analyser la vision de la medecine qui apparait dans l'oeuvre romanesque de tobias smollett et de laurence sterne de 1748 a 1771. La premiere partie, theorique, donne la primaute a l'histoire de la medecine, la situant dans une perspective historique afin d'evaluer sa dette a l'egard des siecles anterieurs. La seconde, univers medical et contenu romanesque, qui puise aux sources du corpus romanesque et a celles du corpus medical, examine les aspects institutionnels de la profession statut legal et social du medecin, formation professionnelle et exercice de la medecine. Elle se tourne ensuite vers les notions de malade et de maladie. La troisieme, le champ du savoir medical dans le contenu romanesque, etudie dans les romans trois branches maitresses de la medecine, l'obstetrique, la medecine mentale, la medecine militaire. La problematique de cette etude reside dans le bien-fonde de la vision satirique des deux ecrivains. Ils portent sur les hommes un jugement severe qui n'est pas en accord avec ce que l'on sait de la medecine au 18e siecle, periode charniere qui precede l'avenement de la medecine moderne anatomo-clinique. Ni l'un ni l'autre ne semblent au fait de la profonde mutation qui s'opere de leur vivantThis thesis has been inspired by a recurrent theme in 18th-century novels, that of medecine. The transdisciplinary methodology intends to analyse tobias smollett's and laurence sterne's outlook on medecine from 1748 to 1771. The subject is set in a large cultural perspective. In the first part, a theoretic and synoptic approach gives precedence to the historic of medecine, trying to assess what is owes to former centuries. The second part, the medical world and fiction, borrows both from literature and medical texts. It discusses the medical institutions - the physician's legal and social status, professional training and medical practice - then it analyses the concepts of patient and illness. The third part, the field of medical knowledge in fiction, deals with three main branches of medicine, obstetrics, mental medicine, military medicine. The question raised is whether the two authors' satiric vision is justified. Both lay the blame on men and institution which is in contradiction with what is known of 18th-century medicine, aza turning point in the history of this science and a capital period before the advent of modern anatome-clinc medicine. Neither smollett norsterne appear to have been aware of the changes underway
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Erchinger, Philipp. "Kontingenzformen : Realisierungsweisen des fiktionalen Erzählens bei Nashe, Sterne und Byron /." Würzburg : Königshausen & Neumann, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3178492&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Pickford, Susan. "Le récit de voyage de Laurence Sterne à Gustave Doré : naissance et évolution d'un genre européen." Toulouse 2, 2006. http://www.theses.fr/2006TOU20086.
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Cette thèse prend pour sujet le récit de voyage excentrique dans les sphères francophone, anglophone et germanophone entre 1760 et 1851. Nous définissons le récit de voyage excentrique comme un sous-genre de l’anti-récit de voyage, caractérisé par la manipulation volontairement visible de la matière narrative (interventions de la voix auctoriale, digressions, paratexte atypique) afin de subvertir le pacte du récit de voyage en dissociant l’espace du récit de l’espace de la chose racontée. L’auteur du récit de voyage excentrique revendique la matérialité du livre afin de rompre l’illusion, suscitée par la description, d’un voyage diégétique aux côtés du narrateur, illusion qui sous-tend le genre et lui permet de prétendre à une finalité pratique et référentielle. La seconde partie du travail se penche sur plusieurs cas d’études, examinant le fonctionnement de l’excentricité textuelle, narrative et paratextuelle chez Laurence Sterne, Jean Paul, Xavier de Maistre, William Combe et Thomas Rowlandson, Rodolphe Töpffer et Gustave Doré. La thèse se penche particulièrement sur la manière dont le contexte éditorial façonne l’émergence de ce sous-genre. Le récit de voyage excentrique se positionne en effet résolument aux marges d’un marché éditorial du récit de voyage en pleine expansion, marché lui-même nourri par la démocratisation du voyage et les premiers balbutiements de l’industrie touristique moderne. Son excentricité narrative et visuelle reflète sa revendication du droit à l’ex-centricité, à la marginalité, dans un domaine éditorial de plus en plus sujet à la marchandisationThis thesis focuses on eccentric travel writing in French, German, and English from 1760 to 1851. The thesis defines eccentric travel writing as a sub-genre of anti-travel writing, characterised by deliberately apparent manipulation of the narrative using techniques such as the presence of the authorial voice, digression, and atypical paratext as a means of subverting the travel writing pact by dissociating narrative space from narrated space. The author of an eccentric travel narrative lays bare the materiality of the book as a means of destroying the illusion of the reader travelling in the diegesis alongside the narrator. This illusion, produced by description, is fundamental to travel writing, allowing it to stake a claim as a genre to utility and referentiality. The second part of this work focuses on a number of case studies, examining the function of textual, narrative, and paratextual eccentricity in the works of Laurence Sterne, Jean Paul, Xavier de Maistre, William Combe and Thomas Rowlandson, Rodolphe Töpffer, and Gustave Doré. The thesis also focuses on the way the sub-genre is shaped by its publishing context. The eccentric travel narrative deliberately positioned itself on the fringes of a publishing market in which the travel narrative enjoyed great commercial success; in turn, this publishing market fed on the democratisation of travel and the first hesitant steps of the modern tourism industry. The sub-genre’s narrative and visual eccentricity reflect its desire to position itself ex-centrically, on the margins, of a publishing market increasingly prone to commercialisation
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Tracey, Karen Kaiser. "The hobby horse's stumbling block." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9976.
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Hawley, Judith Victoria. "Laurence Sterne and the circle of sciences : a study of Tristram Shandy and its relation to encyclopedias." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306761.
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Friant-Kessler, Brigitte. ""Tristam Shandy" illustré de 1760 à 1817 : réflexion et déflexion entre l'espace graphique et l'espace textuel." Montpellier 3, 2007. http://www.theses.fr/2007MON30059.
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Tristram Shandy de Laurence Sterne (1713-1768) reste un texte déroutant et original, plus de deux siècles après la mort de son auteur. Cette thèse s’attache à analyser les points de contact possibles entre le texte de Sterne et les gravures qui furent publiées et insérées dans des éditions entre 1760 et 1817. L’illustration puise à la source du texte tout en reflétant l’esthétique des divers artistes. Les gravures dans les éditions illustrées sont également le témoignage de changements dans la culture de l’imprimé et de l’histoire du livre durant les deux dernières décennies du XVIIIe siècle. Une première partie s’articule sur la circularité entre le texte et l’image. L’analyse met au jour des mécanismes de migration et de porosité entre les deux media. La seconde partie s’attache à déterminer les différentes formes que peut revêtir la notion de variabilité. La réflexion et déflexion entre le texte et l’image sont au cœur de cette étude, mais les images et le texte de Sterne sont aussi appréhendés comme le lieu d’une tension, celle qui caractérise l’irréductibilité des deux media. C’est ce qui fait l’objet de l’étude dans la troisième partie. L’étude vise à mieux cerner les jeux et les enjeux qui sous-tendent l’illustration d’un texte aussi foisonnant que Tristram ShandyLaurence Sterne’s Tristram Shandy remains an oddity, well over two hundred years after the author’s death. This thesis explores the relationship between the text and a corpus of illustrations to Tristram Shandy from 1760 to 1817. Illustrations that are offsprings of Sterne’s text are also rooted in each artist’s aesthetic response. Those images are moreover closely related to the book trade and changes in print culture in the last decades of the eighteenth century. The first part deals with the impact of illustrations, namely how those images migrate from a model to imitations and new creations. A fundamental pattern of circularity is established between the verbal and the visual to see how the images bear traces of text in a variety of ways. The analysis in the second part draws on the notion of variability, whether in format of the book or within the narrative. This thesis argues that prints which accompany the text deflect the reader’s interpretation and reception. Furthermore, there is a mutually mirroring effect on both the text and the images. Although a kind of perfect harmony between the two medium may seem appealing, text and image do not dovetail. The argument aims at pinpointing paradoxical features of that relationship, more so when it comes to illustrating a text as zany and fluctuating as Tristram Shandy
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Wilson, Christie Dawn. "Writing as Conversation: The Importance of Communication in Laurence Sterne's Tristram Shandy." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0330103-173951/unrestricted/WilsonC04152003f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-0330103-173951. Includes bibliographical references. Also available via Internet at the UMI web site.
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Lopez-Burette, Marion. "Tristram Shandy ou l'identité en question." Paris 7, 2012. http://www.theses.fr/2012PA070032.
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En s'appuyant sur Tristram Shandy de Laurence Sterne, la thèse soutient que la littérature amorce l'intérêt philosophique porté par le 18ème siècle au concept d'identité. Après Locke et avec Hume, l'on ne croit plus guère au caractère immuable de l'identité. Celle-ci cesse d'être et l'homme s'effraie devant les immensités de ces virtualités. Le récit de vie se révèle tentative d'interroger la nature d'une individualité élusive. Aussi, le genre faussement autobiographique du roman impose-t-il comme une évidence de répondre à la question : qui "suis-je ?". Cette interrogation est reprise par le lecteur implicite qui s'immisce dans l'espace textuel à la fois pour figurer l'étranger avec lequel il faut bien compter mais surtout pour forcer à la réévaluation. Le concept d'identité s'envisage donc, en second lieu, sous l'angle du "qui es-tu ?". Cet étranger qui interroge sur soi dérange car c'est bien dans la démarche de se dire à lui que l'on se perd. Pourtant, la tentative de s'expliquer est le seul moyen d'y voir plus clair en soi. Il s'agit alors, dans un troisième temps, de s'intéresser à tout ce qui, dans la vie quotidienne, peut nourrir cette identité. Chaque anecdote, même banale, sert de révélateur et Tristram se laisse déplier à la manière d'une figure d'origami, indéfiniment. Reste que le temps, littéraire ou humain, ne peut contenir totalement une personnalité. L'identité d'un individu échappe partiellement à l'écriture et doit finalement s'envisager à l'échelle de l'humanité, dans quelque chose de l'ordre de ce que Kant aurait qualifié de "transcendantal", rendant la référence à l'humanité absolument nécessaire dans la définition du concept d'identitéRelying on the novel Tristram Shandy by Laurence Sterne, the PhD insists on seeing literature as the starting point of the 18 th century's philosophical interest in the concept of identity. After Locke and with Hume, man can no longer rely on identity for stability. This triggers distress, partially soothed by writing one's life, an attempt to question the nature of an elusive individuality. As we are concerned here with the mock-autobiographic genre, we first logically endeavour to answer the question : "who am I ?". The enquiry is given further implications when reiterated by an implicit reader who functions as a kind of impediment, meddling with the textual space in order to figure the stranger every individual has to do with and imposing reassessment. It follows that the concept of identity is scrutinized from the "you" point of view, asking the question "who are you ?". The Other is disturbing, for it is in the attempt to say oneself that the self is diluted. However, portraying ones singularity is also the only way to reach a better understanding of oneself. The third turning point of the reflection is thus concerned with all that, in everyday life, nourishes this identity. It insists on the efficiency of the roundabout way and of apparently trifling details, leading to Tristram's indefinitely unfolding, in the manner of an origami. But time, be it a literary or a human time, never fully encapsulates a personality. Identity, when individual, eludes writing. In the end, it has to be apprehended at the level of the humanity, in something that Kant would have called "transcendental", making the reference to humanity necessary in the definition of the concept of identity
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Beltz, Bettina [Verfasser]. "«Fortsetzung folgt...» : Zum intertextuellen Trialog zwischen Günter Grass, Salman Rushdie, John Irving und ihrem Ahnherrn Laurence Sterne / Bettina Beltz." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2013. http://d-nb.info/1042420564/34.
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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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Ravit, Marie-Joëlle. "Voyageurs britanniques en France et en Italie dans la seconde moitié du dix-huitième siècle : Tobias Smollett et Laurence Sterne." Paris 4, 1997. http://www.theses.fr/1997PA040068.
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Une remarque de Sterne a permis de confronter, dès sa parution en 1768, Le Voyage sentimental au récit de Smollett : Travels through France and Italie (1766). Leurs formes littéraires les différencient d'emblée. Mais les œuvres de fiction aussi bien que les réflexions émises au fil de lettres ou d'essais par ces auteurs et leurs contemporains se rejoignent pour indiquer les interrogations et les certitudes qui les habitent. Cette étude utilise donc ces deux types de sources pour replacer les œuvres dans une période où les évolutions dans l'économie et la société provoquent, surtout en Angleterre, espoirs et inquiétudes chez les observateurs. Ambiguïtés et hésitations, propres à une époque de transformations, sont partagées par ces auteurs et leurs contemporains. Le public se passionne au dix-huitième siècle pour le thème du voyage. Bien que souvent évoqués, les états italiens et surtout la France revêtent un intérêt particulier dans un contexte où la rivalité commerciale devient fréquemment militaire. Pourtant, malgré leurs convergences, les buts, les messages et les formes d'écriture choisies par les deux auteurs divergent. Smollett parait vouloir écrire un récit de voyage instructif, plaisant et utile, surtout adressé à des lecteurs britanniques, tandis que Sterne privilégie l'aspect humain et donc plus universel de l'étrangerOne of Sterne’s remarks has enabled readers to contrast The Sentimental journey (1768) with Smollett's travel book, Travels through France and Italy (1766), from the day the novel was published. They obviously differ through their literary forms. However, works of fiction as well as ideas expressed in letters or other non-fiction works by the authors and by their contemporaries, enable us to find clues to the questions they raised and the certainties they felt they could depend upon. This study therefore makes use of those two kinds of data to anchor the works in a period when economic evolution and its attendant social changes kindled both hopes and anxieties in the minds of observers, especially in England. The reactions of the authors and their contemporaries tend to show such signs of ambiguity and hesitancy as can be expected in a period of upheavals. Travel literature in the eighteenth century was immensely popular with the reading public. Although France and the Italian states had often been described, interest in these subjects did not wane, especially as, in the case of France, the period was one of commercial rivalry, often leading to military conflict. Yet, in spite of the many common points they share, the two authors differ as to their aims, messages and stylistic choices. Smollett writes an interesting, entertaining and useful travel book meant mainly for British readers, while Sterne favors the human aspect and thus the more universal condition that he finds in foreign lands and people
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Frock, Clare. "Mischievous partners and systemless systems : Laurence Sterne's Tristram Shandy and Friedrich Schlegel's concept of irony." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61292.
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This thesis considers Laurence Sterne's Tristram Shandy in light of Friedrich Schlegel's concept of irony. Departing from previous criticism, which focuses on Sterne's playful narrative techniques, the discussion here elucidates other ways in which Tristram Shandy exemplifies the kind of irony Schlegel theorizes. These ways include: Sterne's "Mischgedicht" method, which amalgamates in a single work many types of style, or diverse permutations of form and content; the depiction of Parson Yorick, who epitomizes Socratic irony as Schlegel defines it in the 108th Lyceum fragment; Sterne's gentle satirizing of systematic thinkers, including his own narrator, Tristram; and Sterne's attitude toward words, knowledge, and reading. At the end of chapter 5, Sterne's irony is unraveled and reconstructed. This disentangling leads to a proposed refutation of recent interpretation of both Sterne and Schlegel. These studies see Sterne and Schlegel's irony as implying lack or flux of meaning. It is the strong contention of the following thesis that an essential aspect of Sterne and Schlegel's shared ironic world view is the continual, optimistic attempt to understand life, which necessarily presupposes a sincere and profound belief in both meaning and the reliable conveyance of it. (Abstract shortened by UMI.)
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Wood, Gareth. "Javier Marías's debt to translation : Sterne, Browne, Nabokov." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670143.
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Javier Marías has explained many times that working as a translator of literary works from English into Spanish helped shape him as a writer. This study explores those claims by analysing two things: firstly, his translations themselves; and secondly, seeing how those translations have left discernible traces in his own fiction.
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Nassar, Noha Saad. "The proverb in three works of Laurence Sterne - A Sentimental Journey, A Journal To Eliza, And A Political Romance : a compilation and commentary." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/5392/.
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The present thesis deals with proverbial usage in A Sentimental Journey, A Journal to Eliza, and A Political Romance. It consists of three compilations of proverbs, three commentaries, and a listing of the proverbial expressions cited in each work. In the 'Compilations', those parts of the text in which proverbs occur are quoted followed by the proverbs as they are cited in both modem and contemporary dictionaries. The 'Commentary' deals with the significance of the proverb in each work. In chapter 1, the different devices employed by Sterne when manipulating proverb lore are categorised and examined. In chapters 2, 3 and 4 the different ways in which proverb lore reflects upon the principal themes and ideas, in the three works, are analysed. In the 'Lists of Proverbs' following the commentary, all the proverbs, and the repeated proverbs, cited in Sterne's three works are listed in the order in which they occur in the different texts. The 'Compilations', the 'Commentary' and the 'Lists of Proverbs' complement one another: while the first part of the thesis testifies to Sterne's familiarity with his tradition and the degree of his reliance upon it, the third comprises a synopsis of Part I, and the second deals with the significance of proverb lore in each work. The present endeavour highlights an important aspect of Sterne's writings and makes a contribution to the corpus of literary criticism about the author.
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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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Ferreira, H?lciu Einstein Santos. "O caos sistematizado - as quebras de narrativa no romance A vida e as Opini?es do Cavalheiro Tristram Shandy." PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA LINGUAGEM, 2018. https://repositorio.ufrn.br/jspui/handle/123456789/24966.
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O objetivo deste estudo ? fazer uma an?lise estrutural da obra do autor irland?s Laurence Sterne (1713-1768), A Vida e as Opini?es do Cavalheiro Tristram Shandy (The Life and Opinions of Tristram Shandy, Gentleman), publicada em 1760 e respons?vel por representar uma verdadeira revolu??o est?tica num g?nero liter?rio que j? vinha se consagrado no s?culo XVIII na Inglaterra: o romance. Rompendo com no??es est?ticas predominantes do g?nero romanesco de sua ?poca, Sterne apresenta em sua obra uma narrativa fragmentada, com cap?tulos incompletos e fora de ordem, intermin?veis digress?es e um narrador cuja confiabilidade ? constantemente colocada em quest?o. Partindo da complexidade proporcionada pelas inova??es est?ticas de Sterne, investigaremos as diversas formas pelas quais o autor quebra a narrativa em seu romance. Essas quebras possuem como principal objetivo provocar nos seus leitores uma sensa??o constante de estranhamento e frustra??o, de modo que para se compreender Tristram Shandy ? necess?rio por parte do leitor deixar de lado uma leitura passiva e passar a trabalhar em conjunto com o pr?prio narrador do romance, Tristram, para, dessa forma, compreender as inten??es por tr?s da narrativa fragmentada e ca?tica de Sterne, as quais possuem o prop?sito de provocar o riso e a reflex?o, al?m de revelar uma vis?o sat?rica e cr?tica da sociedade puritana inglesa do s?culo XVIII. Para a an?lise deste trabalho, observaremos as t?cnicas est?ticas e narrativas utilizadas por Sterne que t?m por finalidade causar o estranhamento e alterar a percep??o do leitor, como a fragmenta??o do romance, as mudan?as de ritmo na narrativa e a parodiza??o. Al?m disso, analisaremos como o riso ? provocado atrav?s da carnavaliza??o e da erotiza??o. Por fim, falaremos um pouco sobre os recursos gr?ficos utilizados pelo autor de modo a manter sua marca autoral na obra. Usaremos como base te?rica estudos de Chklovsky (1978), Lotman (1978), Bakhtin (1993), Genette (1995), Reis e Lopes (2000), Arag?o (1980), entre outros. Conclu?mos que as rupturas na narrativa de Sterne possuem o objetivo de criar uma obra capaz de dar aos seus leitores uma experi?ncia ?nica de leitura, revelando por tr?s de sua narrativa fragmentada uma obra de poderosa cr?tica e s?tira social, al?m de um senso de humor extremamente cr?tico e inovador.
The goal of this study is to do a structural analysis of the work of the Irish author Laurence Sterne (1713-1768), The Life and Opinions of Tristram Shandy, Gentleman, published in 1760 and that was remarkable for representing a true aesthetic revolution in a literary genre that was already renowned on the 18th century in England: the novel. Breaking with the predominant aesthetical notions of the romanesque genre of his time, Sterne shows in his work a shattered narrative, with incomplete, out of order, chapters, endless digressions and a narrator whose trustworthiness is constantly put in question. Starting from the complexity brought by Sterne?s aesthetical innovations, we will investigate various ways by which the author breaks the narrative in his novel. Those breaks have as main goal to provoke in his readers a constant sensation of strangeness and frustration, so that in order to understand Tristram Shandy it is necessary that the reader forgoes a passive reading and starts to work alongside with the author himself, Tristram, so that they may understand the intentions behind Sterne?s shattered and chaotic narrative, which seeks to provoke laughter and reflection, plus revealing a satirical and critic view of the English puritan society of the 18th century. For the analysis of this novel, we will investigate the aesthetical techniques and narratives used by Sterne that seek to cause strangeness and alter the reader?s perception, like the fragmentation of the novel, the changes in the rhythm of the narrative and the process of parody. Furthermore, we will analyse how the laughter is performed through the carnivalization and the erotization, and finally we will discuss a little about the graphical techniques are used by the author to reclaim his authorial property in his work. As our theoretical basis, we will use the studies by Chklovsky (1978), Lotman (1978), Bakhtin (1993), Genette (1995), Reis and Lopes (2000), Arag?o (1980), among others. We conclude that the ruptures of the narrative on Sterne?s work aim to create a work able to give to its readers a unique reading experience, revealing a work of powerful criticism and social satire behind its shattered narrative, as well as an extremely critic and innovating sense of humour.
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D'Ambrosio, Mariano. "Le roman de la non-linéarité : une analyse comparée de Tristram Shandy, Pale fire, La vie mode d'emploi et House of leaves." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA092/document.
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Cette thèse veut explorer l’idée de l’existence d’un roman de la non-linéarité, à travers un inventaire de la critique et l’analyse comparée de quatre ouvrages considérés comme appartenant à cette tradition (The life and opinions of Tristram Shandy, gentleman, de Laurence Sterne ; Pale fire, de Vladimir Nabokov ; La vie mode d’emploi, de Georges Perec ; House of leaves, de Mark Z. Danielewski).Dans le premier chapitre, est postulée la thèse de deux traditions dans l’histoire du roman : la tradition du roman réaliste, et une tradition caractérisée par l’utilisation de formes non linéaires. L’analyse des études sur la tradition réflexive du roman, sur la théorie du chaos appliquée à la littérature, sur les marges textuelles, sur la lecture et sur l’intertextualité seront pris en compte pour soutenir cette thèse.Sur la base de ces questionnements, le deuxième chapitre esquisse une définition du roman de la nonlinéarité, qui comprend un répertoire des procédés et des thèmes communs à cette tradition, ainsi qu’une réflexion sur ses approches du monde et de l’identité humaine.Le troisième chapitre laisse la place à l’analyse des textes du corpus. Les quatre romans sont analysés chacun pour ses spécificités, et aussi dans la perspective de vérifier le postulat d’une tradition d’un roman de la non-linéarité. En s’appuyant sur de nombreux exemples extraits des romans pris en considération, l’analyse s’articule en huit sections : le problème du commencement ; l’intertextualité ; la complexité du récit de vie ; les questions de l’interruption, de la procrastination et de l’absence ; les approches dutemps ; les approches du langage ; le thème du jeu ; l’impossibilité de la finThis thesis aims to explore the idea of the existence of a novel of nonlinearity, through an inspection of the criticism and the comparative analysis of four works considered as belonging to this tradition (The Life and Opinions of Tristram Shandy, Gentleman, by Laurence Sterne; Pale Fire, by Vladimir Nabokov; Life, a User’s Manual (La vie mode d’emploi), by Georges Perec; and House of Leaves, by Mark Z. Danielewski).The first chapter postulates the thesis of two traditions in the history of the novel: the tradition of the realist novel, and a tradition distinguished by the use of nonlinear forms. In order to support this thesis, I’ll take into account studies about the reflexive tradition of the novel, about chaos theory as applied to literature, about the margins of the text, about the reading experience, and about intertextuality.On the basis of this examination, the second chapter outlines a definition of the novel of nonlinearity, which includes a repertoire of the literary devices and themes common to this tradition, and a reflection about its perspectives upon the world and human identity.The third chapter is dedicated to the analyses of the texts included in the corpus. The four novels are analyzed for their distinctive features, and also in the aim of verifying the premise of the existence of a novel of nonlinearity. Drawing on numerous examples selected from the novels, these analyses are structured in eight sections: the problem of beginning; intertextuality; the complexity of life narratives; the issues of interruption, procrastination and absence; the approaches to time; the approaches to language; the theme of the game; and the impossibility of an ending
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Ferdjani, Youssef. "Le voyage intérieur dans Le tiers livre de Rabelais, Le voyage sentimental de Sterne, Au coeur des ténêbres de Conrad et Voyage au bout de la nuit de Céline." Paris 3, 2008. http://www.theses.fr/2008PA030016.
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Le Tiers livre,le Voyage sentimental,Au coeur des ténèbres et Voyage au bout de la nuit racontent des voyages dans lesquels les endroits que le personnage principal visite ont moins d’importance que les changements qui ont lieu dans sa conscience. Le voyage devient une quête du sens perdu,à travers laquelle les auteurs proposent une réflexion sur l’interprétation,la compréhension de l’autre et la possibilité d’atteindre la connaissance. Il s’agit donc de voyages intérieurs qui permettent aux personnages de mieux se connaître eux-mêmes. Ces oeuvres,qui sont modernes puisqu’elles sont influencées par différents genres,ont également une dimension philosophique et métaphysique car elles analysent la place et le rôle de l’homme dans l’universThe Third Book,A Sentimental Journey,Heart of Darkness and Journey to the End of the Night tell the story of a journey in which the places visited by the main character have less importance than the changes taking place in his consciousness. The journey becomes a quest for the lost meaning of things,through which the authors suggest a reflection on interpretation understanding of the other and the possibility to reach knowledge. These are therefore inner journeys that allow characters to know themselves better. These works,which are modern since they are influenced by various genres,also have a philosophical and metaphysical dimension because they analyse the place and the role of man in the universe
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Vasset, Sophie. "Décrire, prescrire, guérir : correspondances entre discours médical et discours fictionnel 1719-1771." Paris 7, 2006. http://www.theses.fr/2006PA070076.
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Cette thèse propose d'étudier la fiction anglaise de la première moitié du dix-huitième siècle en regard de la médecine populaire de la même époque. Daniel Defoe, Samuel Richardson, Henry Fielding, Tobias Smollett and Laurence Sterne utilisent certains éléments du discours médical afin de justifier leur entreprise littéraire. Selon eux, la fiction peut prévenir le lecteur contre le vice (c'est l'époque de l'inoculation), ou même le guérir de ses maux. En suivant les trois étapes de la démarche médicale—décrire, prescrire, guérir— cette étude interdisciplinaire examine autour de quelles représentations de l'individu les discours fictionnels et médicaux se rejoignent, s'opposent, ou plus simplement se répondent. La description du vivant, essentielle à la médecine, devient l'intérêt de la fiction réaliste, qui se réfère métaphoriquement à certains schémas médicaux comme celui de la circulation sanguine. Les auteurs de fiction, comme ceux la médecine populaire et didactique, développent de nombreuses stratégies prescriptives : la lecture est alors censée aider le lecteur à organiser sa vie quotidienne, et guide la façon dont il doit s'occuper de son corps. Enfin, la fiction comme la médecine promettent de guérir le lecteur par le mouvement de l'exercice et de la purge, de la pensée et du rire. La satire opère un traitement plus corrosif que les écrivains justifient par la violence que le traitement médical inflige au corps souffrantThis study of Eighteenth-Century fiction and medicine (1719-1771) aims at presenting an interdisciplinary analysis of both discourses. Daniel Defoe, Samuel Richardson, Henry Fielding, Tobias Smollett and Laurence Sterne use some elements of the medical discourse to justify their literary enterprise. They tend to argue that fiction can prevent the reader against vice, or even cure him. To study how medical and fictional discourse interact with each other, this analysis follows the tree steps of the medical process—description, prescription and treatment. The description of life—so essential to the medical thought—is becoming the vital concern of realistic fiction, which assimilates some medical principles such as circulation. Many prescriptive strategies are enacted by authors of fiction and medical doctors who write about domestic life, suggesting some proper ways of dealing with one's body. Finally, both fiction and medicine offer to cure through movement, by exercising and purging, thinking and laughing. Corrosive satirical laughs are assimilated to a certain healing violence often associated with the medical treatment
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Laurence, Dorothea [Verfasser], Anne [Akademischer Betreuer] Simmenroth-Nayda, Silke [Gutachter] Schicktanz, and Martin [Gutachter] Oppermann. "Wie stehen Medizinstudierende, Studienbewerber und Ärzte zur Feminisierung in der Medizin? / Dorothea Laurence ; Gutachter: Silke Schicktanz, Martin Oppermann ; Betreuer: Anne Simmenroth-Nayda." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2017. http://d-nb.info/114995423X/34.
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Steiner, Laurenz Matthias [Verfasser]. "Berufliche Belastungsfaktoren und psychische Gesundheit im Bereich der Anästhesie und Intensivmedizin – eine Betrachtung der Veränderungen in den letzten 10 Jahren und Unterschiede zu Psychiatern und Psychotherapeuten im Jahr 2016 / Laurenz Matthias Steiner." Ulm : Universität Ulm, 2021. http://d-nb.info/1235528022/34.
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Moioli, Aurélie. "Le récit de soi : poétique et politique de la dissemblance : Jean Paul, Ugo Foscolo, Stendhal, Gérard de Nerval." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100151.
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Il s’agit de reprendre la question autobiographique à l’époque où le genre se constitue en Europe, au premier XIXe siècle, en déplaçant le regard vers les marges du genre. Les œuvres de Jean Paul, d’Ugo Foscolo, de Stendhal et de Gérard de Nerval sont d’abord étudiées sous l’angle de la poétique des genres dont elles déstabilisent les catégories. La thèse déplace la question générique en soulevant les enjeux éthiques et politiques du récit de soi qui sont liés à l’expérience du sujet et du temps. À côté de ce qui deviendra le canon en matière d’autobiographie se dessine une autre ligne autobiographique qui, en souvenir de Laurence Sterne, se place sous le signe de l’imagination et de l’arabesque. Les œuvres du corpus mettent en évidence la ligne de poésie de la vie et du sujet. Ces poétiques autobiographiques excentriques manifestent une dissemblance de soi, du temps et de l’histoire. Elles mettent en crise l’identité pensée comme « mêmeté » et l’idée d’un temps homogène. Le soi n’est pas un ; l’autobiographe n’est seul ni dans sa peau, ni dans sa langue, ni dans sa plume ; il se déplace entre les lieux et entre les langues, ne trouvant pas d’assise. La figure de l’auteur est plurielle et collective, en rupture avec le mythe du génie. Aux transfigurations de soi s’ajoutent les transfigurations de la mémoire qui ressaisit le passé au présent et pour l’avenir. Expérience mélancolique de revenance, le récit de soi multiplie les fantômes qui sont le signe d’un deuil personnel et des disjonctions de l’histoire. Témoignant des révolutions du siècle, l’autobiographe ouvre aussi l’histoire individuelle et collective : le récit de soi est prospectif. C’est une mémoire au futurThe thesis takes up the question of autobiography by focusing on works at the margins of the genre during the early 19th century, the period in which autobiographical writing in Europe came into its own. The works of Jean Paul, Ugo Foscolo, Stendhal and Gérard de Nerval destabilize established generic and canonic categories. They do so by pointing to the ethical and political issues at stake in the narration of the self, which are in turn linked to the experience of the subject and of time. The thesis thereby identifies and explores another autobiographical “line” emerging alongside canonical forms of the genre, a “line” which recalls Laurence Sterne through the use of arabesques and the reliance upon imagination in life narratives. These works emphasize the “line of poetry” which constitutes life and the subject. The poetics of these eccentric autobiographical works explores dissemblance in writing the self, time, and history. They question reductive understandings of identity as ‘sameness’ and conceptions of time as homogenous. The self is not ‘one’; the autobiographer is alone neither in his body, nor in his language, nor in the act of writing. Rather, he is in constant movement between places and languages, unable to establish a stable grounding for his narrative. The author’s persona is multiple and collective, inverting the myth of the romantic genius. Such transfigurations of the self are tied to transfigurations of memory, which allow for the past to be reenacted in the present and for the future. This melancholic experience is also one of haunting, for narratives of the self draw on the figure of the phantom as a sign of mourning for both personal and historical disjunctions. As witnesses of recent or contemporary revolutions, the autobiographers stress the incomplete nature of both individual and collective history, that is, the potential that such history contains. Narrating the self is therefore prospective; it is memory addressing the future
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Gonçalves, Sandra Isabel Guinote Pina. "A retórica da digressão em Laurence Sterne, Xavier de Maistre e Almeida Garrett." Master's thesis, 2005. http://hdl.handle.net/10400.1/1783.
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Dissertação de mest., Literatura, Faculdade de Ciências Humanas e Sociais, Univ. do Algarve, 2005Este trabalho comparativista consiste na análise da retórica da digressão em três romances dos séculos XVIII e XIX, Sentimental Journey, Voyage autour de ma chambre e Viagens na minha terra, de Sterne, Maistre e Garrett, respectivamente. Pretendemos demonstrar, mediante o estudo dos seus processos retórico-estilísticos, que são romances digressivos e não anti-romances. Primeiramente, apresentaremos dados relativos à história, teoria e métodos da Literatura Comparada. Utilizaremos uma metodologia comparativista resultante da evolução registada no âmbito desta disciplina, segundo a qual os contextos geográficos, culturais, históricos e sociais, em que as obras são criadas, não são descurados no decorrer da análise. Seguidamente, abordaremos questões relacionadas com as origens e pressupostos do Romantismo, por um lado, e com os primeiros sinais e florescimento do romance digressivo, por outro. Procederemos, então, à análise de textos literários que desde o século XVII se revelaram importantes contributos para a imposição do referido subgénero literário. Finalmente, contextualizaremos os supramencionados autores e analisaremos os elementos que tornam os seus textos digressivos, salientando os seus pontos de contacto e de afastamento. Neste âmbito, atentaremos nas relações intertextuais e dialógicas estabelecidas entre os três romances. A permanente apologia da liberdade de imaginação e de interpretação, a paisagem interior e a descrição, o diálogo narrador-escritor/leitor e a retórica da sedução, a ironia romântica, a suposta inexistência de um plano prévio à redacção, a promoção da anti-linearidade e os vários relatos de histórias entrecortados são alguns dos traços que, paradoxalmente, conferem coesão à diegese, permitindo a sua progressão, e que constituem um novo programa de escrita, originalmente, apresentado nestes romances.
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Barker, Christopher H. "Sterne and Locke fortifications and the narrative in the eighteenth century novel /." 2001. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ67713.
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Thesis (M.A.)--York University, 2001. Graduate Programme in English.Typescript. Includes bibliographical references (leaves 106-113). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ67713.