Search Results for novel genre

... mind. No more than an eerie absent‐presence, Defoe's Devil is far more strange and subtle than earlier representations. In this essay, I examine the generic concerns surrounding the Devil's complicated ontological status in the novel—how Defoe depicted the form of the Devil in a genre dedicated...

... wrote in bold colors and began experimenting with genres, incorporating influences that would be developed later in the Victorian novel. She can be seen as a pivotal figure straddling the two periods, building on the conventions of the eighteenth-century novel and carrying them forward. This paper aims...

... in Cervantes’ novel . As opposed to many eighteenth-century novelistic adaptations and interpretations, dramatic farce frequently entails cruelty, suggesting that we should extend the project Dickie began, in Cruelty and Laughter , from his forgotten genres to drama. Given its adaptation in both low comic...

... to conceive innovation itself in positive terms. The genre of the novel also emerged at this time, and its earliest experi- ments, parodic in form and content, bear an arresting relation to what these authors are variously attempting to do. Formally speaking, they have much in common...

... and royals, equally, became fictionalized and richly imagined like characters in novels as multiple publics observed and discussed their images (10). With the rise of the novel genre, individual lives became public stories to tell. Morris explains that George III sought, in a way his Hanoverian prede...

...  —  and no longer find an ascendant middle class or increased literacy in early eighteenth-century Britain, Watt’s model of a genre able to offer a modern form for the modern world contin- ues to inform many histories of the novel. Indeed, we read novels in terms of Watt’s formal realism, and as we analyze...

... Scott Black University of Utah Thomas G. Pavel. The Lives of the Novel: A History (Princeton: Princeton Univ., 2013). Pp. xii + 346. $35 • The novel is an idealist genre. In Thomas Pavel’s eloquent and generous book, the history...

... the novel as a pre-given category of writing. “It is only from a modern per- spective,” Bator suggests, “that we might wish to speak of an eighteenth- century ‘genre’ of the novel as a distinct conceptual or epistemological cat- egory, for, as [Ralph] Cohen and others have...

... misleading; it could have been called Romanticism and the Uses of Genre Theory, because poems and novels (almost always poems) are brought into the discussion to illustrate theories of Eighteenth-Century Life Volume 36, Number 1, Winter 2012  doi 10.1215...

... and letters, as well as religious, legal, philosophical, and scientifi c writing), they are to be commended for adjusting the lenses through which we view literary genres. Fresh perspectives, in turn, lead to more balanced discussions of the novel, of travel writing, of letters. The assessments of some...

... 254 Laetitia Barbauld appropriated the same saying (by Andrew Fletcher of Saltoun, 1653–1716) for yet another genre: “Might it not be said with as much propriety, let me make the novels of a country, and let who will make the systems.”17 The circulation...

... that the East impacted the West. Meanwhile, research on the novel has demonstrated the porosity of national boundaries, making it easier to see the ingress of genres such as the Oriental tale. The following paragraphs survey recent work in these fields — ​Orientalism and the rise of the novel...

... the three, understanding why the novel sprung up when it did involves discovering how the general culture had prepared for the appear- ance of a new genre and form of text. Watt identifies the novel proper with the literary technique he calls formal realism, which he defines in terms of the text s...

... Kowaleski-­Wallace’s Consuming Subjects (1997), and Deidre Lynch’s Economy of Character (1998). The Secret Life of Things proceeds similarly to these earlier works as it links consumption and representations of consumption with emerging genres of lit- erature, the periodical essay, and the novel...

... and fiction,” into the different genres of journalism, fiction, and history. As part of this transformation, the novel came into being “as a form of defense against censorship, power, and authority.” 2 3 In other words, it is just fiction. Any resemblance to persons living or dead is purely coinciden...

... was the superior medium for pro- motion of reason and virtue, while tragedy often portrayed libertine heroines, and novels, victims of sentiment. Staves gives a fine, wide-ranging account of the genres eighteenth-century readers recognized as literature. She reminds us that novels were not a major...

... of Subligny’s La Fausse Clélie (1670), Paige notes the tendency to over- emphasize the novel’s displacement of romance, which assumes a univocal sense of that genre. Romance itself, though, has a history that includes its own modern adjustments. Paige has a good discussion of the important chal- lenge...

... to form, how are we to distinguish satire from comedy, satirical novels from merely comic nov- els? Such genre distinctions are difficult to make using the taxonomic crite- ria employed in The Practice of Satire (attack, distributive justice, provocation; motive, nature of judgment, intensity...

... these Robinsonades as complete works unto themselves, not just as reinventions of the first novel. These stories also serve as commentaries on the ghostly image of Crusoe that haunts different eras and genres. Anthologies, journal articles, and edited collections about Robinson Crusoe continue to emerge from...

... novel no longer seem like parodies of insular emotional agitation. 46 Eighteenth-Century Life Goring comes to the novel by way of his fourth chapter’s argument that act- ing theory should be read as a literary genre, and he suggests that John Hill’s 1755 The Actor; Or, A Treatise on the Art...