dunnettreader + prose   16

MELVYN NEW - Review essay: Five Twenty-First-Century Studies of Laurence Sterne and His Works (2009) | JSTOR - Eighteenth-Century Studies
Eighteenth-Century Studies, Vol. 43, No. 1 (FALL 2009), pp. 122-135 -- "Read, read, read, read, my unlearned reader!": Five Twenty-First-Century Studies of Laurence Sterne and His Works -- Reviewed Works: Laurence Sterne in France by Lana Asfour; Labyrinth of Digressions: Tristram Shandy as Perceived and Influenced by Sterne's Early Imitators by René Bosch, Piet Verhoeff; Yorick's Congregation: The Church of England in the Time of Laurence Sterne by Martha F. Bowden; Sterne's Whimsical Theatres of Language: Orality, Gesture, Literacy by Alexis Tadié; The Cultural Work of Empire: The Seven Years' War and the Imagining of the Shandean State by Carol Watts -- indirectly a useful overview of shifts in dealing with Sterne, Tristram and Church of England not only in latter part of 18thC but 19thC and 20thC -- downloaded pdf to Note
books  reviews  article  jstor  literary_history  English_lit  18thC  Sterne  French_lit  satire  prose  celebrity  cultural_history  intellectual_history  publishing  publishing-industry  imitation  Church_of_England  scepticism  Swift  self-knowledge  philanthropy  sentimentalism  sincerity  authenticity  politics-and-literature  materialism  sermons  translation  bibliography  downloaded 
november 2015 by dunnettreader
Thomas Pfau - Romantic Moods: Paranoia, Trauma, and Melancholy, 1790–1840 (2005 hbk only) | JHU Press
Thomas Pfau reinterprets the evolution of British and German Romanticism as a progress through three successive dominant moods, each manifested in the "voice" of an historical moment. Drawing on a multifaceted philosophical tradition ranging from Kant to Hegel to Heidegger—incorporating as well the psychosocial analyses of Freud, Benjamin, and Adorno—Pfau develops a new understanding of the Romantic writer's voice as the formal encryption of a complex cultural condition. Pfau focuses on 3 specific paradigms of emotive experience: paranoia, trauma, and melancholy. Along the trajectory of Romantic thought paranoia characterizes the disintegration of traditional models of causation and representation during the French Revolution; trauma, the radical political, cultural, and economic restructuring of Central Europe in the Napoleonic era; and melancholy, the dominant post-traumatic condition of stalled, post-Napoleonic history both in England and on the continent. (..) positions emotion as a "climate of history" to be interpretively recovered from the discursive and imaginative writing in which it is objectively embodied. (..) traces the evolution of Romantic interiority by exploring the deep-seated reverberations of historical change as they become legible in new discursive and conceptual strategies and in the evolving formal-aesthetic construction and reception of Romantic literature. In establishing this relationship between mood and voice, Pfau moves away from the conventional understanding of emotion as something "owned" or exclusively attributable to the individual and toward a theory of mood as fundamentally intersubjective and deserving of broader consideration in the study of Romanticism.
books  18thC  19thC  intellectual_history  literary_history  lit_crit  Romanticism  social_psychology  self  subjectivity  self-examination  French_Enlightenment  French_Revolution  French_Revolution-impact  French_Revolutionary_Wars  Napoleonic_Wars  Napoleonic_Wars-impact  political_culture  political_discourse  aesthetics  cultural_history  Radical_Enlightenment  radicals  Counter-Enlightenment  counter-revolution  worldviews  social_history  change-social  change-intellectual  poetics  rhetoric-political  prose  facebook 
august 2015 by dunnettreader
Lina Bolzoni - Les Asolani de Pietro Bembo, ou le double portrait de l’amour | Italique, IX, 2006, p. 9-27
Italique [En ligne], IX | 2006, mis en ligne le 29 mai 2009, DOI : 10.4000/italique.103. **--** Les Asolani réalisent en outre une synthèse complexe de traditions et de modèles différents, littéraires et philosophiques, anciens et modernes, latins et en langue vulgaire. Ainsi la tradition du dialogue latin, classique et humaniste, est réécrite en vulgaire et utilisée également comme cadre et comme commentaire à un choix de poésies ; si le cadre narratif renvoie à son tour au Décaméron, le choix de poésies s’inspire de plus en plus du Pétrarque du Canzoniere. Différentes traditions philosophiques – en particulier la réflexion moderne sur l’amour des néoplatoniciens florentins – sont utilisées pour donner une nouvelle dignité théorique à la tradition lyrique en vulgaire et en même temps pour réaliser une difficile réconciliation entre vie et littérature, entre autobiographie et création d’un modèle idéal. La célébrité des asolani n’est pas seulement italienne : une traduction française, par Jean Martin, est publiée à Paris en 1545 et elle sera réimprimée plusieurs fois au cours du XVIe siècle.En outre, il ne faut pas oublier que Bembo est le protagoniste du dernier livre du cortegiano grâce justement à l’autorité dont il jouissait pour avoir écrit les asolani ; la célébrité européenne du cortegiano contribue à amplifier aussi la renommée de notre texte. -- downloaded pdf to Note
article  revues.org  literary_history  cultural_history  intellectual_history  Italy  Venice  France  Italian_lit  14thC  15thC  16thC  Bembo  Petrarch  Dante  Boccaccio  poetry  poetics  prose  style  style-philosophy  elite_culture  Renaissance  courtiers  sprezaturra  love  humanism  Neoplatonism  moral_philosophy  reception  vernacular  neo-Latin  dialogue  publishing  manners  gentleman  otium  downloaded  EF-add 
september 2014 by dunnettreader
Jean Balsamo - « Qual l’alto Ægeo... » : Montaigne et l’essai des poètes italiens | Italique, XI, 2008, p.109-129.
Italique [En ligne], XI | 2008, mis en ligne le 01 février 2012, DOI : 10.4000/italique.213. **--** La poésie est l’expression privilégiée de l’émotion pour Montaigne.1Il cite tout au long des Essais d’innombrables vers, par lesquels il exprime tout ce que sa prose ne peut dire. Ces citations contribuent à un effet d’hétérogénéité stylistique et linguistique, qui définit l’originalité même du livre, dans le cadre d’une « rhétorique des citations » et d’une esthétique de la surprise et de la varietas. Ces vers sont en latin pour la plupart d’entre eux, constituant une véritable anthologie, d’Ovide et de Virgile, cités dès le chapitre 2 du premier livre, à Horace, qui conclut le dernier chapitre du livre III. Montaigne cite également 70 vers de poètes italiens. Ces fragments en langue italienne sont plus importants que les vers français, si l’on excepte, dans les trois premières éditions, le recueil des 29 sonnets d’Etienne de La Boétie, qui constitue à lui seul la matière d’un chapitre dédié à la comtesse de Guiche. La langue italienne, sous le règne de Henri III, était un signe de distinction. De tels vers étaient l’expression ostentatoire d’une culture mondaine, que le livre partageait avec ses lecteurs, dames et gentilshommes dont Montaigne voulait être le pédagogue sans pédantisme. -- downloaded pdf to Note
article  revues.org  French_lit  Italian_lit  Latin_lit  literary_history  intellectual_history  cultural_history  Renaissance  poetry  poetics  vernacular  epic  epigrammes  prose  style-philosophy  Montaigne  intertextual  influence-literary  elite_culture  Petrarch  Ariosto  Dante  Virgil  Tasso  Lucretius  Seneca  Pléiade  downloaded  EF-add 
september 2014 by dunnettreader
JERRY C. BEASLEY - ENGLISH FICTION IN THE 1740s: SOME GLANCES AT THE MAJOR AND MINOR NOVELS | JSTOR: Studies in the Novel, Vol. 5, No. 2 (summer 1973), pp. 155-175
Samuel Richardson, Henry Fielding, and Tobias Smollett reached their first successes in the 1740s, when they burst upon the scene with novels that seemed surprisingly fresh and "new," as indeed their authors claimed they were. Certain aspects of this "newness" have been frequently explored by scholars, who have tried to show how these three authors built upon, and departed from, the practice of their predecessors. But the major novels of the 1740s appeared simultaneously with a great many other works of fiction, both native pieces and foreign works in translation—romances and "novels," "spy" stories and secret histories, feigned "lives," "memoirs," and "histories." By looking at these, we stand to learn a good deal about the initial appeal, and sometimes the methods, of Richardson, Fielding, and Smollett, who were keenly aware of the contemporary scene in prose fiction. In fact, an important measure of these novelists' achievement is the way they were able to exploit several current modes of storytelling in creating ingeniously textured novels that gained great popularity by satisfying the tastes of a very heterogeneous audience, and that managed also to be excitingly original, utterly serious works of art. -- looks quite interesting -- didn't download
article  jstor  literary_history  English_lit  18thC  1740s  popular_culture  print_culture  readership  novels  prose  fiction  Fielding  Richardson  Smollett  EF-add 
may 2014 by dunnettreader
Denis Dutton, review - Francis-Noël Thomas and Mark Turner, Clear and Simple as the Truth: Writing Classic Prose | Philosophy and Literature 21 (1997): 504-507
Every once in a while a book comes along with the power to alter permanently the view of a subject you thought you knew well. For me this year, that book is Clear and Simple as the Truth: Writing Classic Prose, Francis-Noël Thomas and Mark Turner (Princeton University Press, $14.95).....But it is actually a treatise on one particular style, which the authors call classic prose. This is a specifiable kind of writing that can be found in every literate culture, they insist, even if their examples are all European. At the center of the classic style is the nonfiction essay, although it is a style used for fiction as well. They begin with a sentence from La Rochefoucauld: [and compare it with a tortured construction by Johnson in his preface to Shakespeare]. -- It may look easy to write, but that is part of the trick of classic prose. It is efficient and precise, and seems utterly spontaneous. However, that natural sound is not the sound of speech, Thomas and Turner say, it is the sound of writing. Writing such as La Rochefoucauld’s embodies or expresses a certain attitude toward the truth. For Johnson’s sentence, writing “hard and noble,” as they call it, and truth is something that cannot be captured in mere speech, but is rather “the reward of effort.” For the classic style, “Truth is a grace that flees from earnest effort. The language of truth is ideally graceful speech.” -- Dutton describes the attitude towards an equality of conversation and interest in pursuing shared knowledge -while acknowledging limits to access to certainty and foibles of prejudices etc - that underpins the classical style. Very applicable to Bolingbroke
books  reviews  kindle-available  English_lit  French_lit  17thC  18thC  writing  style-philosophy  prose  conversation  epistemology-social  Rochefoucauld  Johnson  classicism  neoclassical  reader_response  intentionality  EF-add 
february 2014 by dunnettreader
F. R. Ankersmit - Historicism: An Attempt at Synthesis | JSTOR: History and Theory, Vol. 34, No. 3 (Oct., 1995), pp. 143-161
Lead article in "Forum: The Meaning of Historicism and Its Relevance for Contemporary Theory" -- According to German theorists historicism was the result of a dynamization of the static world-view of the Enlightenment. According to contemporary Anglo-Saxon theorists historicism resulted from a de-rhetoricization of Enlightenment historical writing. It is argued that, contrary to appearances, these two views do not exclude but support each other. This can be explained if the account of (historical) change implicit in Enlightenment historical writing is compared to that suggested by historicism and, more specifically, by the historicist notion of the "historical idea." Aspects of the contemporary debate about the nature and the task of historical writing can be clarified from the perspective of the differences between Enlightenment and historicist historical writing. -- see response article by Iggers and Ankersmit's response -- downloaded pdf to Note
article  jstor  intellectual_history  historiography  18thC  19thC  Enlightenment  Germany  historicism  philosophy_of_history  Scottish_Enlightenment  French_Enlightenment  historiography-18thC  historiography-19thC  belles-lettres  rhetoric-writing  historical_change  prose  style-history  downloaded  EF-add 
february 2014 by dunnettreader
Josephine Miles - A Change in the Language of [18thC] Literature | JSTOR: Eighteenth-Century Studies, Vol. 2, No. 1 (Autumn, 1968), pp. 35-44
Downloaded pdf to Note - fascinating description of changes first in poetry and then in prose to use of qualifying adjectives, away from assertions - comments on changes in cultural assumptions. Effects of Hebrew phrases
article  jstor  18thC  English_lit  poetry  prose  style  cultural_history  downloaded  EF-add 
january 2014 by dunnettreader
Philip Gould - Wit and Politics in Revolutionary British America: The Case of Samuel Seabury and Alexander Hamilton | JSTOR: Eighteenth-Century Studies, Vol. 41, No. 3 (Spring, 2008), pp. 383-403
This essay reads the famous exchange of anonymously written pamphlets between the American loyalist Samuel Seabury and the patriot Alexander Hamilton as an episode in transatlantic literary history. Reading the political pamphlet as a genre in which literary and cultural debates over taste and style simultaneously were taking place, this essay argues that for both patriot and loyalist writers, demonstrating British cultural literacy was crucial to establishing political authorship in America. The subsequent debates between Seabury and Hamilton over such subjects as wit and classical expression testify to the ongoing importance of this literacy as well as the larger dissonance between the political and cultural dimensions of the American Revolution. -- downloaded pdf to Note
article  jstor  cultural_history  intellectual_history  political_history  literary_history  18thC  American_colonies  American_Revolution  Loyalists  Hamilton  political_press  style  prose  lit_crit  wit  Pope  satire  Johnson  American_lit  literacy  cultural_capital  downloaded  EF-add 
january 2014 by dunnettreader
Stephen H. Daniel: Myth and Rationality in Mandeville (1986)
JSTOR: Journal of the History of Ideas, Vol. 47, No. 4 (Oct. - Dec., 1986), pp. 595-609 -- downloaded pdf to Note
article  jstor  intellectual_history  English_lit  17thC  18thC  Mandeville  Enlightenment  social_theory  reason  genre  rhetoric  prose  style  style-philosophy  fable  myth  downloaded  EF-add 
september 2013 by dunnettreader

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