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This three-volume set brings together all that Samuel Richardson
himself published on the composition, printing and interpretation
of "Clarissa". The various short works reveal Richardson's
reactions to the concerns and issues raised by contemporary
readers.
This three-volume set brings together all that Samuel Richardson
himself published on the composition, printing and interpretation
of "Clarissa". The various short works reveal Richardson's
reactions to the concerns and issues raised by contemporary
readers.
This three-volume set brings together all that Samuel Richardson
himself published on the composition, printing and interpretation
of "Clarissa". The various short works reveal Richardson's
reactions to the concerns and issues raised by contemporary
readers.
This three-volume set brings together all that Samuel Richardson
himself published on the composition, printing and interpretation
of "Clarissa". The various short works reveal Richardson's
reactions to the concerns and issues raised by contemporary
readers.
In Jane Austen's works, a name is never just a name. In fact, the
names Austen gives her characters and places are as rich in subtle
meaning as her prose itself. Wiltshire, for example, the home
county of Catherine Morland in Northanger Abbey, is a clue that
this heroine is not as stupid as she seems: according to legend,
cunning Wiltshire residents caught hiding contraband in a pond
capitalized on a reputation for ignorance by claiming they were
digging up a big cheese the moon's reflection on the water's
surface. It worked. In Jane Austen's Names, Margaret Doody offers a
fascinating and comprehensive study of all the names of people and
places real and imaginary in Austen's fiction. Austen's creative
choice of names reveals not only her virtuosic talent for riddles
and puns. Her names also pick up deep stories from English history,
especially the various civil wars, and the blood-tinged differences
that played out in the reign of Henry VIII, a period to which she
often returns. Considering the major novels alongside unfinished
works and juvenilia, Doody shows how Austen's names signal class
tensions as well as regional, ethnic, and religious differences. We
gain a new understanding of Austen's technique of creative
anachronism, which plays with and against her skillfully deployed
realism in her books, the conflicts of the past swirl into the
tensions of the present, transporting readers beyond the Regency.
Full of insight and surprises for even the most devoted Janeite,
Jane Austen's Names will revolutionize how we read Austen's
fiction.
In Jane Austen's works, a name is never just a name. In fact, the
names Austen gives her characters and places are as rich in subtle
meaning as her prose itself. Wiltshire, for example, the home
county of Catherine Morland in Northanger Abbey, is a clue that
this heroine is not as stupid as she seems: according to legend,
cunning Wiltshire residents caught hiding contraband in a pond
capitalized on a reputation for ignorance by claiming they were
digging up a "big cheese" - the moon's reflection on the water's
surface. It worked. In Jane Austen's Names, Margaret Doody offers a
fascinating and comprehensive study of all the names of people and
places - real and imaginary - in Austen's fiction. Austen's
creative choice of names reveals not only her virtuosic talent for
riddles and puns. Her names also pick up deep stories from English
history, especially the various civil wars, and the blood-tinged
differences that played out in the reign of Henry VIII, a period to
which she often returns. Considering the major novels alongside
unfinished works and juvenilia, Doody shows how Austen's names
signal class tensions as well as regional, ethnic, and religious
differences. We gain a new understanding of Austen's technique of
creative anachronism, which plays with and against her skillfully
deployed realism - in her books, the conflicts of the past swirl
into the tensions of the present, transporting readers beyond the
Regency. Full of insight and surprises for even the most devoted
Janeite, Jane Austen's Names will revolutionize how we read
Austen's fiction.
The Female Quixote (1752), a vivacious and ironical novel parodying
the style of Cervantes, portrays the beautiful and aristocratic
Arabella, whose passion for reading romances leads her into all
manner of misunderstandings. Praised by Fielding, Richardson and
Samuel Johnson, the book quickly established Charlotte Lennox as a
foremost writer of the Novel of Sentiment. With an excellent
introduction and full explanatory notes, this edition will be of
particular interest to students of women's literature, and of the
eighteenth-century novel. ABOUT THE SERIES: For over 100 years
Oxford World's Classics has made available the widest range of
literature from around the globe. Each affordable volume reflects
Oxford's commitment to scholarship, providing the most accurate
text plus a wealth of other valuable features, including expert
introductions by leading authorities, helpful notes to clarify the
text, up-to-date bibliographies for further study, and much more.
Twentieth-century historians and critics defending the novel have
emphasized its role as superseding something else, as a sort of
legitimate usurper that deposed the Epic, a replacement of myth, or
religious narrative. To say that the Age of Early Christianity was
really also the Age of the Novel rumples such historical
tidiness--but so it was. From the outset of her discussion, Doody
rejects the conventional Anglo-Saxon distinction between Romance
and Novel. This eighteenth-century distinction, she maintains,
served both to keep the foreign--dark-skinned peoples, strange
speakers, Muslims, and others--largely out of literature, and to
obscure the diverse nature of the novel itself.This deeply informed
and truly comparative work is staggering in its breadth. Doody
treats not only recognized classics, but also works of usually
unacknowledged subgenres--new readings of novels like The Pickwick
Papers, Puddn'head Wilson, L'Assommoir, Death in Venice, and
Beloved are accompanied by insights into Death on the Nile or The
Wind in the Willows. Non-Western writers like Chinua Achebe and
Witi Ihimaera are also included. In her last section, Doody goes on
to show that Chinese and Japanese novels, early and late, bear a
strong and not incidental affinity to their Western counterparts.
Collectively, these readings offer the basis for a serious
reassessment of the history and the nature of the novel.The True
Story of the Novel marks the beginning of the twenty-first
century's understanding of fiction and of culture. It is essential
reading for anyone with an interest in literature.
Treating Frances Burney (1752-1840) with the seriousness usually
reserved for later novelists of the nineteenth and twentieth
centuries, Margaret Anne Doody combines biographical narrative with
informed literary criticism as she analyzes not only Burney's
published novels, but her plays, fragments of novels, poems, and
other works never published. Doody also draws upon a mine of
letters and diaries for detailed and sometimes surprising
biographical information. Burney's feelings and emotions forcefully
emerge in her sophisticated and complex late novels, Camilla and
The Wanderer. Her novels all relate to personal experience; as an
artist she is attracted to the violent, the grotesque, and the
macabre. She is a powerful comic writer, but her comedy is far from
reflecting a shallow cheerfulness. Bringing a novelist's
perspective to her material, in this 1989 book Doody shows an
appreciation of the many dimensions of a predecessor's writings and
she tells her story with force and conviction.
Treating Frances Burney (1752-1840) with the seriousness usually
reserved for later novelists of the nineteenth and twentieth
centuries, Margaret Anne Doody combines biographical narrative with
informed literary criticism as she analyzes not only Burney's
published novels, but her plays, fragments of novels, poems, and
other works never published. Doody also draws upon a mine of
letters and diaries for detailed and sometimes surprising
biographical information. Burney's feelings and emotions forcefully
emerge in her sophisticated and complex late novels, Camilla and
The Wanderer. Her novels all relate to personal experience; as an
artist she is attracted to the violent, the grotesque, and the
macabre. She is a powerful comic writer, but her comedy is far from
reflecting a shallow cheerfulness. Bringing a novelist's
perspective to her material, in this 1989 book Doody shows an
appreciation of the many dimensions of a predecessor's writings and
she tells her story with force and conviction.
This 1989 volume was created to mark the three-hundredth
anniversary of Samuel Richardson's birth, with fifteen essays, some
illustrated, by contributors who investigate various aspects of the
novelist's work. The essays offer fresh readings of individual
novels and of Richardson's whole oeuvre. Subjects range from an
examination of reactions to Pamela to observations on patterns of
male friendship in the novels. Richardson's personal epistolary
production is studied by several of the contributors, one of whom
makes a strong appeal for the publication of Richardson's complete
correspondence. A strikingly original essay explores the novelist's
temporal and geographical world, in relation to the real London of
the time. This important collection, festive in spirit but sharp,
scholarly and brilliantly multi-faceted, is a landmark in
Richardson studies.
The Daring Muse is a challenging account of the richness and
complexity of Augustan poetry. It takes in a broad range of writers
from the Restoration to the Regency, from Rochester and Dryden to
Cowper and Crabbe, and shows the essential connections between
them. Augustan poetry has too often been thought of as uniform,
staidly classical, even dull. Margaret Doody explodes this myth
once and for all. She shows it to be poetry of great energy and
diversity: of extravagant conceits, subversive parody, incessant
stylistic and formal experimentation; a self-consciously innovative
poetry that sought to express and extend the perpetual, restless
activity of the human mind. Both the principles and techniques of
the verse are related to similar elements in the novels of the
period; the book's numerous illustrations help to show how the
poems were presented and interpreted in their own time.
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