Academic literature on the topic 'The life and opinions of Tristram Shandy'

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Journal articles on the topic "The life and opinions of Tristram Shandy"

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Malone, Cynthia Northcutt. "Multisensory Tristram Shandy." CounterText 2, no. 3 (December 2016): 356–73. http://dx.doi.org/10.3366/count.2016.0065.

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An absorbed reader typically pays little conscious attention to the visual, tactile, and sometimes aural sensory experiences of reading. Unexpected formal and visual features of Laurence Sterne's nine-volume fictional narrative, The Life and Opinions of Tristram Shandy, Gentleman, startle readers out of absorption and call attention to familiar operations like decoding black figures on white paper and turning pages. My edition of Volume I is designed to engage the senses through its visual structure, textures, and unexpected materials (buttons, marbled paper strips, and ribbons) and through formal surprises (interpolated documents, accordion-fold inserts, and paper lace). In its structure and materials, this edition highlights the odd formal features of Sterne's novel and the cognitive work that the narrator requires of earnest and industrious readers.
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Xu, Junfang. "A Central Consciousness at Work Beneath the Surface Artlessness: Narrative Strategies in “Tristram Shandy”." International Journal of Applied Linguistics and English Literature 7, no. 3 (May 1, 2018): 137. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.3p.137.

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‘The Life and Opinions of Tristram Shandy, Gentleman’ (hereafter shortened to “Tristram Shandy”) is a unique novel written by British author Laurence Sterne in the eighteenth century. While Sterne’s contemporary readers may have conflicting viewpoints about the artistic value of “Tristram Shandy” because of its surface artlessness and chaos, readers today in the contexts of such twentieth-century critical theories as postmodernism, existentialism, and deconstruction, find it congenial and more intriguing. I argue that despite the apparent chaos of this novel, the author-narrator Tristram is a central consciousness that holds the whole work together. And I believe Sterne narrates his story in such a peculiar way in conformity to his own perception of the outside world. Specifically, this paper aims to explore the inventive narrative strategies employed in Sterne’s “Tristram Shandy” in the three aspects of narrative structure, time-shifting technique and self-conscious narrator. Amazingly, “Tristram Shandy” presents a wholly new notion of creative writing, one that goes beyond its time, and has unbreakable connection with twentieth-century literature.
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Donoghue, William. "The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne." Scriblerian and the Kit-Cats 34, no. 1-2 (2002): 86–88. http://dx.doi.org/10.1353/scb.2002.0021.

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Gerard, W. B. "The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne." Scriblerian and the Kit-Cats 38, no. 2 (2006): 309–10. http://dx.doi.org/10.1353/scb.2006.0019.

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New, Melvyn. "The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne." Scriblerian and the Kit-Cats 46, no. 2 (2014): 167–68. http://dx.doi.org/10.1353/scb.2014.0001.

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Yandell, John. "Book review: Laurence Sterne, The life and Opinions of Tristram Shandy, Gentleman." Visual Communication 11, no. 1 (January 25, 2012): 121–25. http://dx.doi.org/10.1177/1470357211424689.

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Schmitz-Emans, Monika. "Harlekine und Grabsteine – oder: Wie ediert man den Zufall?" editio 34, no. 1 (November 1, 2020): 96–122. http://dx.doi.org/10.1515/editio-2020-0006.

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AbstractIn Laurence Sterne’s novel The Life and Opinions of Tristram Shandy, Gentleman, typography, ‹mise en page› and the concrete architecture of the book (page, text and chapter structure) become literary means of staging the work. The same applies to special arrangements of page sequences and the selective use of special material. The so-called black page, actually a recto- and verso page, and the marbled page, made of specially produced marbled paper, are spectacular highlights of the novel. The marbled page makes every book copy unique. New editions of Tristram Shandy, however, have often ignored Sterne’s arrangement, often not understood it, sometimes even interpreted it idiosyncratically. A collection of examples of re-stagings of the marbled page and the black page illustrates different forms of semantization of book material.
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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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Holm, Melanie D. "Laughter, Skepticism, and the Pleasures of Being Misunderstood in Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman." Eighteenth Century 55, no. 4 (2014): 355–75. http://dx.doi.org/10.1353/ecy.2014.0040.

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Wiehe, Jarred. "No Penis? No Problem: Intersections of Queerness and Disability in Laurence Sterne's The Life and Opinions of Tristram Shandy, Gentleman." Eighteenth Century 58, no. 2 (2017): 177–93. http://dx.doi.org/10.1353/ecy.2017.0015.

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Dissertations / Theses on the topic "The life and opinions of Tristram Shandy"

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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'identité
Relying 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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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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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 Shandy
The 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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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 Shandy
Laurence 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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Tracey, Karen Kaiser. "The hobby horse's stumbling block." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9976.

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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 fin
This 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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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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"AN ANALYSIS OF METAFICTIONAL SELF-REFLEXIVITY IN LAURENCE STERNE’S THE LIFE AND OPINIONS OF TRISTRAM SHANDY AND WILLIAM GASS’ WILLIE MASTERS' LONESOME WIFE." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/3/12606560/index.pdf.

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Books on the topic "The life and opinions of Tristram Shandy"

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Tristram Shandy. London: G. Allen & Unwin, 1985.

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Tristram Shandy. London: Unwin Hyman, 1988.

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Sterne, Laurence. The life and opinions of Tristram Shandy, gentleman. San Francisco: Arion Press, 1988.

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Laurence, Sterne. The life and opinions of Tristram Shandy, gentleman. New York: Barnes & Noble Books, 2005.

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Rowson, Martin. The life and opinions of Tristram Shandy, gentleman. Woodstock, N.Y: Overlook Press, 1997.

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Laurence, Sterne. The Life and opinions of Tristram Shandy, gentleman. New York: New American Library, 1988.

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Laurence, Sterne. The life and opinions of Tristram Shandy, gentleman. Oxford: Oxford University Press, 2009.

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Laurence, Sterne. The life and opinions of Tristram Shandy, gentleman. London: Penguin Books, 2003.

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Laurence, Sterne. The Life and Opinions of Tristram Shandy, Gentleman. London: Penguin Group UK, 2009.

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Laurence, Sterne. The life and opinions of Tristram Shandy, gentleman. London: Penguin Books, 1997.

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Book chapters on the topic "The life and opinions of Tristram Shandy"

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Sterne, Laurence. "The Life and Opinions of Tristram Shandy (1759–67)." In Reading Fiction: Opening the Text, 22–26. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-08108-7_3.

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Black, Scott. "Tristram Shandy, Essayist." In On Essays, 132–49. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198707868.003.0007.

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The genre of Laurence Sterne’s Life and Opinions of Tristram Shandy is a long-standing critical crux. Indeed, the work wears its complex generic mixtures on its sleeve even as it references the great borrowers from whom Sterne learned to borrow: Rabelais, Montaigne, Cervantes, Burton. This chapter focuses on Sterne’s use of Montaigne’s Essays as a model for a generic procedure that informs Sterne’s writing in its organization (or disorganization), its self-conscious gathering of texts, its free commentary, and its interactivity with both its contexts of citation and its readers. Tristram Shandy is a watershed text in which the full range of the essay tradition is revisited, adapted, used, and abused to form a conversational, bookish, self-conscious, and digressive work that is as much essay as novel.
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"The Life and Opinions of Tristram Shandy." In Medicine and Literature, 127–42. CRC Press, 2018. http://dx.doi.org/10.1201/9781315379173-16.

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Sterne, Laurence. "The Life and Opinions of Tristram Shandy, Gentleman." In The Life and Opinions of Tristram Shandy, Gentleman. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199532896.003.0124.

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To the Right Honourable JOHN, Lord Viscount SPENCER.1 MY LORD, I HUMBLY beg leave to offer you these two Volumes; they are the best my talents, with such bad health as I have, could produce:—had providence granted me a larger stock of either, they...
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"THE LIFE AND OPINIONS OF TRISTRAM SHANDY, GENTLEMAN." In Poems for the Millennium, Volume Three, 726–27. University of California Press, 2019. http://dx.doi.org/10.1525/9780520942202-123.

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Sterne, Laurence. "Chapter V." In The Life and Opinions of Tristram Shandy, Gentleman. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199532896.003.0006.

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On the fifth day of November, 1718, which to the æra fixed on, was as near nine kalendar months as any husband could in reason have expected,—was I Tristram Shandy, Gentleman, brought forth into this scurvy and disasterous world of...
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Sterne, Laurence. "Chapter XXVIII." In The Life and Opinions of Tristram Shandy, Gentleman. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199532896.003.0152.

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DEAR Yorick, said my father smiling, (for Yorick had broke his rank with my uncle Toby in coming through the narrow entry, and so had stept first into the parlour)—this Tristram of ours, I find, comes very...
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Sterne, Laurence. "Chapter III." In The Life and Opinions of Tristram Shandy, Gentleman. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199532896.003.0004.

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To my uncle Mr. Toby Shandy do I stand indebted for the preceding anecdote, to whom my father, who was an excellent natural philosopher,1 and much given to close reasoning upon the smallest matters, had oft, and heavily, complain'd of the...
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Sterne, Laurence. "Chapter XXXII." In The Life and Opinions of Tristram Shandy, Gentleman. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199532896.003.0121.

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FROM this moment I am to be considered as heir-apparent to the Shandy family—and it is from this point properly, that the story of my LIFE and my OPINIONS sets out; with all my hurry and precipitation I have but been clearing the...
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Sterne, Laurence. "CHAPTER XXXII." In The Life and Opinions of Tristram Shandy, Gentleman. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199532896.003.0200.

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I am not insensible, brother Shandy, that when a man, whose profession is arms, wishes, as I have done, for war,—it has an ill aspect to the world;——and that, how just and right soever his motives and intentions may be,—he stands...
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