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Journal articles on the topic 'Sterne, Laurence'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Price, J. V. "Laurence Sterne." Notes and Queries 51, no. 3 (September 1, 2004): 328–30. http://dx.doi.org/10.1093/nq/51.3.328-a.

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2

Price, John Valdimir. "Laurence Sterne." Notes and Queries 51, no. 3 (September 1, 2004): 328–30. http://dx.doi.org/10.1093/nq/510328a.

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3

Oakley, Warren, and Lana Asfour. "Laurence Sterne in France." Modern Language Review 103, no. 4 (October 1, 2008): 1092. http://dx.doi.org/10.2307/20468038.

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4

Holtz, William, Wolfgang Iser, and David Henry Wilson. "Laurence Sterne: Tristram Shandy." Eighteenth-Century Studies 23, no. 1 (1989): 93. http://dx.doi.org/10.2307/2738628.

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5

Jones Nakanishi, Wendy. "Laurence Sterne in France." English Studies 90, no. 3 (June 2009): 371–73. http://dx.doi.org/10.1080/00138380902743641.

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6

Cossy, V. "Laurence Sterne in France." French Studies 64, no. 1 (December 17, 2009): 88–89. http://dx.doi.org/10.1093/fs/knp235.

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7

Watt, Ian, and Arthur H. Cash. "Laurence Sterne: The Later Years." Eighteenth-Century Studies 21, no. 2 (1987): 231. http://dx.doi.org/10.2307/2739107.

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8

de Voogd, Peter, and Melvyn New. "Critical Essays on Laurence Sterne." Yearbook of English Studies 30 (2000): 311. http://dx.doi.org/10.2307/3509293.

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9

Flynn, Carol Houlihan, Valerie Grosvenor Myer, and John Atkins. "Laurence Sterne: Riddles and Mysteries." Modern Language Review 82, no. 4 (October 1987): 920. http://dx.doi.org/10.2307/3729068.

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10

New, Melvyn. "Laurence Sterne by Manfred Pfister." Scriblerian and the Kit-Cats 36, no. 1 (2003): 67–68. http://dx.doi.org/10.1353/scb.2003.0000.

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11

Oakleaf, David. "Laurence Sterne, ed. by Marcus Walsh." Scriblerian and the Kit-Cats 36, no. 2 (2004): 177–78. http://dx.doi.org/10.1353/scb.2004.0036.

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12

New, M. "Richard Lovell Edgeworth and Laurence Sterne." Notes and Queries 51, no. 4 (December 1, 2004): 417–21. http://dx.doi.org/10.1093/nq/51.4.417.

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13

New, Melvyn. "Richard Lovell Edgeworth and Laurence Sterne." Notes and Queries 51, no. 4 (December 1, 2004): 417–21. http://dx.doi.org/10.1093/nq/510417.

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14

Lawlor, Clark. "Laurence Sterne, Fame and Fashionable Disease." Journal for Eighteenth-Century Studies 40, no. 4 (November 7, 2017): 519–35. http://dx.doi.org/10.1111/1754-0208.12510.

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15

Toda, Fernando. "Influencia de Laurence Sterne en la literatura hispanoamericana contemporánea." Philologia Hispalensis 2, no. 4 (1989): 811–16. http://dx.doi.org/10.12795/ph.1989.v04.i02.29.

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16

EVANS, MARGERY. "LAURENCE STERNE AND LE SPLEEN DE PARIS." French Studies XLII, no. 2 (1988): 165–76. http://dx.doi.org/10.1093/fs/xlii.2.165.

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17

de Voogd, Peter. "Laurence Sterne: A Life (review)." Eighteenth-Century Fiction 15, no. 1 (2002): 173–75. http://dx.doi.org/10.1353/ecf.2002.0044.

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18

Fanning, Christopher. "Laurence Sterne in France by Lana Asfour." Scriblerian and the Kit-Cats 42, no. 1 (2009): 70–72. http://dx.doi.org/10.1353/scb.2009.0038.

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19

EVANS, M. "Laurence Sterne and Le Spleen de Paris." French Studies 42, no. 2 (April 1, 1988): 165–76. http://dx.doi.org/10.1093/fs/42.2.165.

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20

Hughes, J. T. "‘Alas, Poor Yorick!’ The Death of Laurence Sterne." Journal of Medical Biography 11, no. 3 (August 2003): 156–62. http://dx.doi.org/10.1177/096777200301100310.

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The life and death of Laurence Sterne are examined. Sterne's body was taken from his grave and soon after appeared for dissection in Cambridge. The teaching of anatomy, the activities of body snatchers and the passage of the 1832 Anatomy Act are reviewed.

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21

Frank Donoghue. "Laurence Sterne and the Fantasy of Individual Patronage." Biography 18, no. 2 (1995): 97–116. http://dx.doi.org/10.1353/bio.2010.0054.

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22

Bloom, Edward A., and Lillian D. Bloom. "Hostage to Fortune: Time, Chance, and Laurence Sterne." Modern Philology 85, no. 4 (May 1988): 499–513. http://dx.doi.org/10.1086/391658.

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23

DAMOFF, SHARON LONG. "LAURENCE STERNE, ROBERT ADAM, AND THE LASCELLES FAMILY." Notes and Queries 45, no. 4 (December 1, 1998): 468–69. http://dx.doi.org/10.1093/nq/45.4.468.

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24

Eccles, Anastasia. "Formalism and Sentimentalism: Viktor Shklovsky and Laurence Sterne." New Literary History 47, no. 4 (2016): 525–45. http://dx.doi.org/10.1353/nlh.2016.0028.

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25

Parnell, J. T. "Laurence Sterne: A Life by Ian Campbell Ross." Scriblerian and the Kit-Cats 36, no. 2 (2004): 175–77. http://dx.doi.org/10.1353/scb.2004.0024.

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26

STEWART, NEIL. "Notes on Noses. Laurence Sterne and Nikolai Gogol." arcadia - International Journal for Literary Studies 36, no. 1 (January 2001): 143–55. http://dx.doi.org/10.1515/arca.2001.36.1.143.

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27

FREITAS, LUANA FERREIRA DE. "STERNE EM MEMÓRIAS PÓSTUMAS DE BRÁS CUBAS E DOM CASMURRO." Machado de Assis em Linha 7, no. 14 (December 2014): 183–97. http://dx.doi.org/10.1590/s1983-68212014000200012.

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Este trabalho parte da leitura e análise de The Life and Opinions of Tristram Shandy, Gentleman e A Sentimental Journey, de Laurence Sterne, e de Memórias póstumas de Brás Cubas e Dom Casmurro, de Machado de Assis, para fazer um exame da presença de traços estilísticos do texto machadiano explorados por Sterne 132 anos antes. Para tal, serão consideradas a digressão e a subjetividade dos narradores.

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28

Bonds, Mark Evan. "Haydn, Laurence Sterne, and the Origins of Musical Irony." Journal of the American Musicological Society 44, no. 1 (1991): 57–91. http://dx.doi.org/10.2307/831728.

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The repeated comparisons during Haydn's own lifetime between his music and the prose of the English novelist Laurence Sterne (1713-1768) point to qualities that go beyond essentially local devices generally described as "humorous" or "witty." Both Haydn and Sterne were acknowledged masters at fusing serious and comic elements in a single work, and both were strongly associated with the quality of Laune, by which the artist's disposition will inevitably be perceptible in his works. Like Sterne's prose, Haydn's music frequently calls attention to its own structural rhetoric. By openly subverting formal conventions of the day, Haydn drew attention to the craft of his art, thereby making the listener all the more aware of the very artificiality of that art, just as Sterne had consistently drawn his readers' attention toward the act of reading. The resulting subversion of aesthetic illusion led, in both instances, to a sense of ironic distance between the artist, his work, and his audience. And while techniques that fostered ironic distance had already enjoyed a long tradition in literature, they represented a new, and to many critics objectionable, aesthetic of music in the second half of the eighteenth century.

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29

Rouanet, Sergio Paulo, and Sandra Guardini T. Vasconcelos. "A forma shandiana: Laurence Sterne e Machado de Assis." Teresa, no. 6-7 (December 8, 2005): 318. http://dx.doi.org/10.11606/issn.2447-8997.teresa.2005.116629.

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O autor reexamina a questão das afinidades entre Machado de Assis e Laurence Sterne a partir do conceito de forma shandiana, caracterizada (1) pela hipertrofia da subjetividade, (2) pela fragmentação e digressividade do texto, 3) pelos paradoxos espácio-tem porais e (4) pela mescla do riso e da melancolia

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30

Vasconcelos, Sandra Guardini. "A pena da galhofa e a tinta da melancolia em Sentimental Journey." Literatura e Sociedade 22, no. 25 (June 5, 2018): 106–16. http://dx.doi.org/10.11606/issn.2237-1184.v0i25p106-116.

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Em Uma viagem sentimental através da França e da Itália (1768), Laurence Sterne põe em xeque e tensiona uma série de concepções que se tornaram correntes principalmente a partir da segunda metade do século XVIII na Inglaterra. Valendo-se da tradição da narrativa de viagem, que ele também parodia, Sterne leva Yorick, sua personagem principal, à França para ficcionalizar um debate importante em seu tempo, tratando-o com humor e graça, sem, no entanto, apagar suas contradições.

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31

Chézaud, Patrick. "Langage naturel et art du roman chez Laurence Sterne." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 41, no. 1 (1995): 113–22. http://dx.doi.org/10.3406/xvii.1995.1309.

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32

Bowden, Martha. "Lives and Opinions: Writing the Life of Laurence Sterne." University of Toronto Quarterly 74, no. 3 (July 2005): 866–76. http://dx.doi.org/10.3138/utq.74.3.866.

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33

Zatta, Jane. "The Sentimental Journeys of Laurence Sterne and Italo Svevo." Comparative Literature 44, no. 4 (1992): 361. http://dx.doi.org/10.2307/1771547.

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34

Hawley, J. "Review. The Sermons of Laurence Sterne, Melvyn New [ed.]." Essays in Criticism 48, no. 1 (January 1, 1998): 80–88. http://dx.doi.org/10.1093/eic/48.1.80.

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35

Cale, L. "W. B. GERARD. Laurence Sterne and the Visual Imagination." Review of English Studies 58, no. 236 (July 16, 2007): 576–77. http://dx.doi.org/10.1093/res/hgm091.

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36

Bonds, Mark Evan. "Haydn, Laurence Sterne, and the Origins of Musical Irony." Journal of the American Musicological Society 44, no. 1 (April 1991): 57–91. http://dx.doi.org/10.1525/jams.1991.44.1.03a00030.

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37

Oakley, Warren. "W. B. Gerard, Laurence Sterne and the Visual Imagination." Notes and Queries 55, no. 2 (June 1, 2008): 240–42. http://dx.doi.org/10.1093/notesj/gjn023.

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38

Huglo, Marie-Pascale. "Du roman comme conversation. Henry Fielding et Laurence Sterne." Analyses 33, no. 1 (April 12, 2005): 129–48. http://dx.doi.org/10.7202/501282ar.

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L'affirmation du roman anglais moderne au cours de la seconde moitié du XVIII e siècle fait l'objet de cette étude. À la question décisive de savoir comment s'autorise et se légitime la nouvelle sorte d'écrit que l'on appelle aujourd'hui « roman », il semble que la conversation, dont les formes sont à l'étude, fournisse un élément de réponse. Une lecture de TomJones,de Henry Fielding, et de Tristram Shandy,de Laurence Sterne, montre précisément en quoi le roman se pose comme une forme « civique » de conversation.

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39

Goring, P. "Laurence Sterne and Topham Beauclerk: Evidence of an Acquaintanceship." Notes and Queries 61, no. 3 (August 26, 2014): 436–41. http://dx.doi.org/10.1093/notesj/gju089.

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40

New, Melvyn. "Laurence Sterne, William Combe, and Samuel Boyce: "A Trio"." Scriblerian and the Kit-Cats 44, no. 1 (2011): 33–37. http://dx.doi.org/10.1353/scb.2011.0008.

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41

Müller, Anja. "Laurence Sterne and the Visual Imagination (review)." Scriblerian and the Kit-Cats 44, no. 1 (2011): 55–56. http://dx.doi.org/10.1353/scb.2011.0036.

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42

Kraft, Elizabeth. "The Cambridge Companion to Laurence Sterne (review)." Scriblerian and the Kit-Cats 44, no. 1 (2011): 47–50. http://dx.doi.org/10.1353/scb.2011.0093.

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43

Bromberg, Leora. "Resisting Linear Form: Sterne and Phillips with “nothing between them but / time”." IJournal: Graduate Student Journal of the Faculty of Information 4, no. 2 (May 10, 2019): 1–13. http://dx.doi.org/10.33137/ijournal.v4i2.32551.

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Readers have certain expectations. Out of any given narrative we expect an introduction, body and conclusion. English words should flow logically one after the other, running from the left to right, in straight lines along the page. Any interruption to this linear process of reading may raise a range of emotional responses, whether it be confusion, anger, awe or insight. Early resistance to a linear reading experience is evident in Laurence Sterne’s 1759-1767 novel The Life and Opinions of Tristram Shandy, Gentleman. Unfolding over the course of nine volumes, this narrative is frequently interrupted with unusual visual and typographic experiments that remain puzzling and intriguing to readers to this day. Likely the most expensive and ambitious of Sterne's experiments is the third volume’s marbled page; a single page coated front and back in a layer of marbled paint, painstakingly and seamlessly constrained within the margins of the text-block. This paper explores the impact of these experiments on the reading experience, with particular attention to the marbled page, by looking towards the reception of Sterne in the contemporary work of book artist Tom Phillips. Despite being raised in the same discussions as examples of works that are intensely aware of their own form, there appears to be little analysis of the connection between Sterne and Phillips. Exploring the reception of Sterne in Phillips’ A Humument illuminates not only how Phillips references Sterne, but also how the very form and design of his work emulates a similar resistance to the linearity of reading and literate culture. Keywords: Laurence Sterne, marbled page, Tom Phillips, literate culture, linearity, reception

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44

New, Melvyn. "A Sentimental Journey through France and Italy by Mr. Yorick by Laurence Sterne, and: A Sentimental Journey and Other Writings by Laurence Sterne." Scriblerian and the Kit-Cats 38, no. 1 (2005): 134–36. http://dx.doi.org/10.1353/scb.2005.0049.

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45

Carnochan, W. B. "The Miscellaneous Writings and Sterne’s Subscribers, An Identification List. The Florida Edition of the Works of Laurence Sterne, vol. 9 by Laurence Sterne." Scriblerian and the Kit-Cats 48, no. 1 (2015): 73–75. http://dx.doi.org/10.1353/scb.2015.0022.

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46

Umerle, Tomasz. "Contingency and its consequences in Tristram Shandy by Laurence Sterne." Journal of Education Culture and Society 1, no. 1 (January 18, 2020): 70–83. http://dx.doi.org/10.15503/jecs20101.70.83.

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My paper proposes a new approach to the famous novel by Laurence Sterne TristramShandy. In my reading of this work I use the category of contingency which I define by referring to the German philosopher Odo Marquard and literary theories of a monographer of the contigency in literature and film Rafał Koschany. These are the basic inspirations for reflections on Tristram as a character, and simultaneously, narrator in the novel. In my view contingency manifests itself in Sterne's work in a two-fold manner it affects Tristram's life and narration. I will try to focus on the different ways in which these manifestations relate to each other.

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47

Warren, Andrew. ""Incomprehensible Contexture[s]": Laurence Sterne and David Hume on Entanglement." SEL Studies in English Literature 1500-1900 59, no. 3 (2019): 581–603. http://dx.doi.org/10.1353/sel.2019.0026.

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48

De Voogd, Peter J. "Laurence Sterne, the marbled page, and ‘the use of accidents’." Word & Image 1, no. 3 (July 1985): 279–87. http://dx.doi.org/10.1080/02666286.1985.10435864.

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49

Toker, Leona. "Narrative Enthymeme: The Examples of Laurence Sterne and James Joyce." Partial Answers: Journal of Literature and the History of Ideas 4, no. 2 (2006): 163–74. http://dx.doi.org/10.1353/pan.0.0102.

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50

Newbould, M.-C. "A Sentimental Journey through France and Italy by Laurence Sterne." Scriblerian and the Kit-Cats 45, no. 2 (2013): 253–55. http://dx.doi.org/10.1353/scb.2013.0025.

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