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Thèses sur le sujet « Works of Samuel Richardson »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 1 février 2022

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1

Wakely, Alice Elizabeth. "Author and editor in the works of Samuel Richardson." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342761.

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2

Bechler, R. "Lovelace Progenitor : A study of the C18th villain." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383712.

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3

Barr, R. A. "Community and the subject in the work of Samuel Richardson." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.596401.

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The novel has often been viewed as instantiating the alienation of the self from society, replacing the involved pre-modern self with an inward-turning ‘subject’. Ian Watt’s influential characterisation of the novel form, and particularly Richardson’s work, is that it is ‘individualist and innovating’. The idea that the novel’s ‘primary criterion [is] truth to individual experience’ has coloured subsequent analysis, which has accordingly focussed on the individuality – that is, the isolation or separateness – of Richardson’s characters rather than their connectedness, or sense of community. Th

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4

Simonova, Natalia. "Works of another hand : authorship and English prose fiction continuations, 1590-1755." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9572.

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This dissertation explores the development of prose fiction continuations from Sir Philip Sidney’s Arcadia to the novels of Samuel Richardson. Examining instances in which a text was continued by someone other than its original author, I ask precisely what this distinction means historically: what factors create a system of literary value in which certain continuations are defined as ‘spurious,’ and how does the discourse surrounding these texts participate in changing attitudes toward authorship, originality, and narrative closure? My work thus contributes to recent critical efforts to histor

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5

Pajares, Infante Eterio. "Richardson en España." León : Secretario de publ., Universidad de León, 1989. http://catalogue.bnf.fr/ark:/12148/cb376797169.

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6

Williams, Katherine Ruth. "Samuel Richardson and amatory fiction." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422578.

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7

Daphinoff, Dimiter. "Samuel Richardsons "Clarissa" : Text, Rezeption und Interpretation /." Bern : Francke Verl, 1986. http://catalogue.bnf.fr/ark:/12148/cb34933974v.

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8

Shepherd, Lynn B. "Samuel Richardson and eighteenth-century portraiture." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439316.

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9

Curran, L. C. "Samuel Richardson : the author as correspondent." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1349011/.

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This thesis is a broadly chronological study of Samuel Richardson’s correspondence, from his early career as a novelist in the 1740s through to his death in 1761. It argues that Richardson’s sustained concern with the aesthetics and ethics of writing letters was central to his conception of authorship and its relation to publicity. It contends that the form and content of Richardson’s letters interact with his novels in ways that are more pervasive than has been previously acknowledged in Richardson studies; I read letters as an integral part of his literary oeuvre, not merely an adjunct to it

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10

Mai, Hans-Peter. "Samuel Richardsons "Pamela" : Charakter, Rhetorik und Erzählstruktur /." Stuttgart : F. Steiner Wiesbaden, 1986. http://catalogue.bnf.fr/ark:/12148/cb34923223t.

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11

Zelen, Renata Halina. "The trial of pygmalion : twentieth-century reader response to heroines in the eighteenth-century novel, with special reference to Samuel Richardson's C̀larissa' /." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12365208.

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12

Glaser, Brigitte. "The body in Samuel Richardson's "Clarissa" : contexts of and contradictions in the development of character /." Heidelberg : C. Winter, 1994. http://catalogue.bnf.fr/ark:/12148/cb357455925.

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13

Ghabris, Maryam. "Les passions dans les romans de Samuel Richardson." Paris 3, 1990. http://www.theses.fr/1990PA030098.

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Les passions, que fustigent les philosophes depuis les anciens grecs, les prédicateurs et les romanciers, constituent le thème essentiel des romans de Samuel Richardson. Il les développe, de l'amour à la haine du moi, depuis leur éveil jusqu'à leurs excès et leurs conséquences. Favorisées par le tempérament anglais et par la condition de la femme considérée comme l'objet prometteur des passions des hommes, les passions sont à l'origine des vices de la société du dix-huitième siècle qui n'apportent que souffrance et malheur. Richardson défend la femme et prône chez les deux sexes la chasteté, l

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14

Rain, David Christopher. "The death of Clarissa : Richardson's Clarissa and the critics." Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phr154.pdf.

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15

Joling-van, der Sar Gerda Joke. "The spiritual side of Samuel Richardson : mysticism, Behmenism and millenarianism in an eighteenth-century English novelist /." [s.l.] : [s.n.], 2003. http://catalogue.bnf.fr/ark:/12148/cb400175164.

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16

Nicklas, Pascal. "The school of afflication : Gewalt und Empfindsamkeit in Samuel Richardsons "Clarissa /." Hildesheim : G. Olms, 1996. http://catalogue.bnf.fr/ark:/12148/cb39245951c.

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17

Ho, Poi-yan Ingrid. "Raping mail/males : reading and writing in Clarissa /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19712339.

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18

Bender, Ashley Brookner. "Samuel Richardson's Revisions to Pamela (1740, 1801)." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4638/.

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The edition of Pamela a person reads will affect his or her perception of Pamela's ascent into aristocratic society. Richardson's revisions to the fourteenth edition of Pamela, published posthumously in 1801, change Pamela's character from the 1740 first edition in such a way as to make her social climb more believable to readers outside the novel and to "readers" inside the novel. Pamela alters her language, her actions, and her role in the household by the end of the first edition; in the fourteenth edition, however, she changes in little more than her title. Pamela might begin as a novel

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19

Bobbitt, Curtis W. "Internal and external editors of Samuel Richardson's Clarissa." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/720152.

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Samuel Richardson's second novel, Clarissa: or, The History of a Young Lady, one of the longest novels in English, has appeared in dozens of significantly different editions, many of them abridgments. This study examines the means by which Richardson and later editors altered the text of Clarissa, primarily by working with three variables: its epistolary format, its length, and its explicit moral lessons.The first half of the study reviews relevant scholarly research and traces Richardson's uses of internal editors in his four editions of the novel. Richardson's omniscient editor, the most vis

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20

Lipsedge, Karen Abigail. "Harlowe Place : representations of the domestic interior in Richardson's Clarisa." Thesis, Queen Mary, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272281.

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21

Spilker, Karen Segrid. "Pamela : the book as a visual and physical experience." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675682.

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22

Lesueur, Christophe. "Poétique et économie de la communication dans Clarissa de Samuel Richardson." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20020.

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Le problème de la communication, et pas seulement du danger des liaisons, est au cœur du roman épistolaire de manière générale et de Clarissa de Samuel Richardson en particulier. Sans cesse menacée d'interruption, la communication représentée dans la diégèse du deuxième roman de Richardson influe également sur le sens et relève à ce titre de ce que Janet Altman a appelé l'épistolarité. Cette étude se concentre sur le code de la communication représentée dans l'œuvre et saisit la lettre dans l’économie de l’information toute particulière dont elle participe, à la croisée d'une communication int

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23

Townsend, Alex. "Autonomous voices : an analysis of polyphony in the novels of Samuel Richardson." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298168.

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24

Affonso, Claudia Maria. "Pamela um estudo sobre a relação personagem/espaço no romance inglês do século XVIII." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-22022010-151411/.

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O século XVIII foi um período de grandes mudanças na estrutura social e econômica vigente. Como conseqüência, a forma de organização do espaço de moradia também se alterou. Houve uma reordenação do espaço doméstico com a criação de lugares privados dentro e fora da casa e a valorização dos jardins ao redor das grandes propriedades rurais inglesas. A ascensão da nova classe média e um crescente interesse pela introspecção e privacidade propiciaram a formação destes espaços reservados ao isolamento. A partir do surgimento do romance na primeira metade do século XVIII, o espaço doméstico viu-se v

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25

McLachlan, Dorice. "Clarissa's triumph." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68120.

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This thesis examines Richardson's representation in Clarissa of the heroine's triumphant death. It considers Clarissa's triumph in relation to the implicit doctrine of freedom of the will and the constitution of the self. Clarissa and Lovelace represent the uncontrollable freedom of the human will and exemplify its potentiality either to choose the good or to subject itself to the desire for power and self-gratification. Chapter one of this thesis discusses Clarissa in relation to the theories of several current literary theoreticians whose work constitutes a response to Kant's ideas on freedo

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26

Latimer, Bonnie. "Contexts for reading gender and narrative authority in the fiction of Samuel Richardson." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438588.

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27

Maaouni, Jamila. "Les personnages des romans de Samuel Richardson : (1689-1761) : le héros et le double." Paris 3, 1992. http://www.theses.fr/1992PA030092.

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Le foisonnement des personnages dans les romans de samuel richardson est tel qu'il invite a definir une problematique qui soit a la fois reflet de la conscience du romancier a l'oeuvre dans la creation litteraire et transposition ou distanciation critique. Certe, l'intention premiere du romancier des d'instruire son lecteur. Mais les personnages de ses romans ont aussi d'autres fonctions, moins apparentes, et les ressorts qui les animent relevent souvent du non-dit. Il s'agit donc de nrespecter a la fois le dessein moralisateur du romancier en examinant les attitudes de ses personnages devant

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28

Deamer, John Francis. "The event in the works of Samuel Beckett." Thesis, Royal Holloway, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414730.

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29

Weiss, Katherine. "Samuel Beckett: History, Memory, Archive." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2281.

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30

Weiss, Katherine. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.

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31

Steindl, Elisabeth. "Pamela im Wandel : Carlo Goldonis Bearbeitungen des Romans "Pamela", Or, Virtue Rewarded von Samuel Richardson /." Frankfurt am Main : Peter Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38966036q.

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32

Dachez, Hélène. "Ordre et désordre : le corps et l'esprit dans les romans de Samuel Richardson (1689-1761)." Paris 3, 1998. http://www.theses.fr/1998PA030155.

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L'etude de l'ordre et du desordre a travers le corps et l'esprit fait ressortir la complexite et l'unicite des romans epistolaires de samuel richardson. L'ordre disparait au profit de dereglements qui affectent l'esprit et l'organisme des personnages, le corps du texte et le corpus romanesque. Les deux principes entretiennent un rapport dialectique et l'auteur presente une coincidence des contraires. Les romans tendent vers l'ordre qui n'est envisage qu'apres des moments d'epreuves necessaires a la purification et a la sublimation des troubles. Toutefois, la quete de l'ordre reste incomplete e

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33

Boa, Stephen. "Reading self-resistance in the works of Samuel Beckett." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq43468.pdf.

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34

White, Kathryn Nan Sharon. "Representations of decay in the works of Samuel Beckett." Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422194.

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35

Park, Ilhyung. "Objects in Samuel Beckett's prose works : possessions, inventories, gifts." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341071.

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36

Weiss, Katherine. "“Samuel Beckett and History,” “Samuel Beckett and the Art of Failure,” and “Modern American Drama and the Greeks”." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5596.

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37

Howard, Jeffrey G. "Transcending the Material Self: Reading Ghosts in Samuel Richardson's Novel Clarissa." DigitalCommons@USU, 2013. https://digitalcommons.usu.edu/etd/1501.

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This thesis presents an analysis of the ghosts in Samuel Richardson’s 1747-48 novel Clarissa, and synthesizes traditional literary criticism on that novel with British folklore and ghost traditions. It examines the novel historically and demonstrates that Richardson’s novelistic approach changed between 1740 when he wrote Pamela and 1747 when he began writing Clarissa in that he relies on the ghost image to discuss the complexities of individual identity. In Clarissa, Richardson outdoes his previous attempt at depicting reality in Pamela because his use of the ghost motif allows the audience t

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38

Weiss, Katherine. "Samuel Beckett’s Waiting for Godot." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2279.

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39

Weiss, Katherine. "Modernism and mechanization : technology in the works of Samuel Beckett." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250675.

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40

Weiss, Katherine. "Samuel Beckett’s Film: A Tribute to James Joyce." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/2276.

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41

Dackombe, Amanda Marie. "Making thought visible : colour in the writings of Virginia Woolf, Dorothy Richardson, Samuel Beckett and T.S. Eliot." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28586.

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This thesis explores colour as a philosophical means of transit between literature and the visual arts. I explore a new way of thinking about the self and about thought, developmg the significance of colour alongside, and internal to, modes of representation in the modernist movement. The interaction of art and literature is crucial to much debate on modernist aesthetics. DevelopIng the debate into the history of colour phenomena, I argue that colour aHows a philosophical inflection to certain clich6s (such as stream-of-consciousness) that are attached to modernist writing. In the work of Virg

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42

Weiss, Katherine. "The Plays of Samuel Beckett: Author Meets the Critics." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/2254.

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43

Weiss, Katherine. "The (Dis)appearing Body in Samuel Beckett’s Stage Plays." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2260.

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44

Weller, Shane. "On the principle of disintegration in the works of Samuel Beckett." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312619.

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45

Barry, Elizabeth. "Faded sense : the uses of cliche in Samuel Beckett's prose works." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324595.

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46

Weiss, Katherine. "R/evolving Technology in Samuel Beckett’s Happy Days." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2297.

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47

Crumbo, Daniel Jedediah, and Daniel Jedediah Crumbo. "The Comedy of Trauma: Confidence, Complicity, and Coercion in Modern Romance." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626362.

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Stories engage a form of virtual play. Though they incorporate language and abstractions, stories engage many of the same biological systems and produce many of the same anatomical responses as simpler games. Like peek-a-boo or tickle play, stories stage dangerous or unpleasant scenarios in a controlled setting. In this way, they help develop cognitive strategies to tolerate, manage, and even enjoy uncertainty. One means is by inspiring confidence in difficult situations by tactical self-distraction. Another is to reframe negative or uncertain situations as learning opportunities, that is, to

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48

Weiss, Katherine. "Extremes and Extremities: The Actor’s Body in Samuel Beckett’s Stage Plays." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2259.

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49

Weiss, Katherine. "James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/2282.

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Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Serg

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50

Weiss, Katherine. "Deciphering the Dream in Samuel Beckett’s Nacht und Träume." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2300.

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