Thomas Keymer - Böcker

The responsiveness of Sterne's writing to a wide range of approaches and topics of recent and ongoing interest--among them narrative, interpretation, intertextuality, gender, the body, sentimentalism, and print culture--has ensured a wealth of recent activity in the journals. Two specialist periodicals, the Shandean and Eighteenth-Century Fiction, have become major repositories for innovative work on Sterne since their foundation in the late 1980s, and important new readings continue to appear in the established journals. The proliferation of periodical articles means, in turn, access to the full range of this material is now a problem in all but the largest institutions. This situation creates a major opportunity for a volume designed to reprint the best essays of the last fifteen years. The book is divided into five sections. Section one looks at one of the most contentious recent debates about Tristram Shandy, on the issue of generic definition, and is designed to help students orient themselves in their encounters with this convention-breaking text in terms of prior traditions and intertexts. Section two's essays on print culture represent a major new area of interest in literary study as a whole. In this context "print culture" denotes not only Sterne's experimental deformation of typographical resources in Tristram Shandy (the black, marbled, and blank pages being the famous instances) but also his engagement with a literary marketplace in which reviewers and other readers could influence the text as it serially emerged. Section three focuses on topics about the body in Sterne. These essays, related closely to the essays in section four, go beyond run of the mill "body in literature" criticism by linking the topic to other issues of current interest: narrative, language, and scientific discourse and/or medical practices in the period. Political readings, another growth area in recent years, is the subject of the final, fifth section.

The responsiveness of Sterne's writing to a wide range of approaches and topics of recent and ongoing interest--among them narrative, interpretation, intertextuality, gender, the body, sentimentalism, and print culture--has ensured a wealth of recent activity in the journals. Two specialist periodicals, the Shandean and Eighteenth-Century Fiction, have become major repositories for innovative work on Sterne since their foundation in the late 1980s, and important new readings continue to appear in the established journals. The proliferation of periodical articles means, in turn, access to the full range of this material is now a problem in all but the largest institutions. This situation creates a major opportunity for a volume designed to reprint the best essays of the last fifteen years. The book is divided into five sections. Section one looks at one of the most contentious recent debates about Tristram Shandy, on the issue of generic definition, and is designed to help students orient themselves in their encounters with this convention-breaking text in terms of prior traditions and intertexts. Section two's essays on print culture represent a major new area of interest in literary study as a whole. In this context "print culture" denotes not only Sterne's experimental deformation of typographical resources in Tristram Shandy (the black, marbled, and blank pages being the famous instances) but also his engagement with a literary marketplace in which reviewers and other readers could influence the text as it serially emerged. Section three focuses on topics about the body in Sterne. These essays, related closely to the essays in section four, go beyond run of the mill "body in literature" criticism by linking the topic to other issues of current interest: narrative, language, and scientific discourse and/or medical practices in the period. Political readings, another growth area in recent years, is the subject of the final, fifth section.

On the lapse of the Licensing Act in 1695, Thomas Macaulay wrote in his History of England, 'English literature was emancipated, and emancipated for ever, from the control of the government'. It's certainly true that the system of prior restraint enshrined in this Restoration measure was now at an end, at least for print. Yet the same cannot be said of government control, which came to operate instead by means of post-publication retribution, not pre-publication licensing, notably for the common-law offence of seditious libel. For many of the authors affected, from Defoe to Cobbett, this new regime was a greater constraint on expression than the old, not least for its alarming unpredictability, and for the spectacular punishment--the pillory--that was sometimes entailed. Yet we may also see the constraint as an energizing force. Throughout the eighteenth century and into the Romantic period, writers developed and refined ingenious techniques for communicating dissident or otherwise contentious meanings while rendering the meanings deniable. As a work of both history and criticism, this book traces the rise and fall of seditious libel prosecution, and with it the theatre of the pillory, while arguing that the period's characteristic forms of literary complexity--ambiguity, ellipsis, indirection, irony--may be traced to the persistence of censorship in the post-licensing world. The argument proceeds through case studies of major poets and prose writers including Dryden, Defoe, Pope, Fielding, Johnson, and Southey, and also calls attention to numerous little-known satires and libels across the extended period.

'No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be an heroine.'Northanger Abbey is a comedy about reading and misreading-of books and the world-and about different kinds of peril, both imagined and real. In it, Austen's youngest heroine, Catherine Morland, must navigate financial disadvantage, social constraint, and sometimes quite ruthless manipulation. The absurdities of fashion and conspicuous consumption, voguish ostentation and social competition are seen first in shark-infested Bath, (the premier health resort and marriage market of the day) and then in a more tranquil pocket of rural Gloucestershire that turns out to be a hotbed of materialism and greed. Jane Austen combines making fun of the excesses of the Gothic novel with larger moral issues: the folly of letting literature get in the way of life, and the inexcusability (especially for women) of not thinking for oneself.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.

'What then is to be done? said Rasselas; the more we inquire, the less we can resolve.'Rasselas and his companions escape the pleasures of the 'happy valley' in order to make their 'choice of life'. By witnessing the misfortunes and miseries of others they may come to understand the nature of happiness, and value it more highly. Their travels and enquiries raise important practical and philosophical questions concerning many aspects of the human condition, including the business of a poet, the stability of reason, the immortality of the soul, and how to find contentment. Johnson's adaptation of the popular oriental tale displays his usual wit and perceptiveness; sceptical and probing, his tale nevertheless suggests that wisdom and self-knowledge need not be entirely beyond reach. This new edition relates the novel to Johnson's life and thought and to politics, society, and the global context of the Seven Years War. 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.

The author of Tristram Shandy (1759-67) is often seen as an anachronism - a belated exponent of learned-wit satire whose kinship is with Montaigne, or a proto-modernist whose narrative pyrotechnics anticipate Joyce. Yet to many contemporaries Sterne's writing was emphatically of its immediate time, a voguish compound of all things modern that seemed to typify, if not indeed constitute, a 'Shandy-Age'.In this historicizing study, Thomas Keymer demonstrates the self-conscious imbrication of Tristram Shandy in the diverse literary culture of its extended moment. Not only absorbing but also updating Swift's Tale of a Tub, Sterne's text turns the satirical resources of Scriblerian writing on the post-Scriblerian literary marketplace, and above all on that quintessentially modern genre, the novel itself. For all its anticipation of later trends, his play on narrative representation, linguistic indeterminacy, the unruliness of reading and the materiality of text turns out to be firmly grounded in the conventions and tropes of mid-eighteenth-century fiction. Through the mechanisms of improvisatory serialization, Sterne could also engage with other new texts and trends as they continued to emerge, including 'Nonsense Club' satire, the Ossianic vogue, and debates about the Seven Years War.

'Pamela under the Notion of being a Virtuous Modest Girl will be introduced into all Familes,and when she gets there, what Scenes does she represent? Why a fine young Gentleman endeavouring to debauch a beautiful young Girl of Sixteen.' (Pamela Censured, 1741)One of the most spectacular successes of the burgeoning literary marketplace of eighteeent-century London, Pamela also marked a defining moment in the emergence of the modern novel. In the words of one contemporary, it divided the world 'into two different Parties, Pamelists and Antipamelists', even eclipsing the sensational factional politics of the day. Preached up for its morality, and denounced as pornography in disguise, it vividly describes a young servant's long resistance to the attempts of her predatory master to seduce her. Written in the voice of its low-born heroine, but by a printer who fifteen years earlier had narrowly escaped imprisonment for the seditious output of his press, Pamela is not only a work of pioneering psychological complexity, but also a compelling and provocative study of power and its abuse.Based on the original text of 1740, from which Richardson later retreated in a series of defensive revisions, this edition makes available the version of Pamela that aroused such widespread controversy on its first appearance. 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.

'I beg as soon as you get Fielding's Joseph Andrews, I fear in Ridicule of your Pamela and of Virtue in the Notion of Don Quixote's Manner, you would send it to me by the very first Coach.' (George Cheyne in a letter to Samuel Richardson, February 1742) Both Joseph Andrews (1742) and Shamela (1741) were prompted by the success of Richardson's Pamela (1740), of which Shamela is a splendidly bawdy parody. But in Shamela Fielding also demonstrates his concern for the corruption of contemporary society, politics, religion, morality, and taste. The same themes - together with a presentation of love as charity, as friendship, and in its sexual taste - are present in Joseph Andrews, Fielding's first novel. It is a work of considerable literary sophistication and satirical verve, but its appeal lies also in its spirit of comic affirmation, epitomized in the celebrated character of Parson Adams. This revised and expanded edition follows the text of Joseph Andrews established by Martin C. Battestin for the definitive Wesleyan Edition of Fielding's works. The text of Shamela is based on the first edition, and two substantial appendices reprint the preliminary matter from Conyers Middleton's Life of Cicero and the second edition of Richardson's Pamela (both closely parodied in Shamela). A new introduction by Thomas Keymer situates Fielding's works in their critical and historical contexts. 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.

'I made him know his Name should be Friday, which was the Day I sav'd his Life...I likewise taught him to say Master'Robinson Crusoe's seafaring adventures are abruptly ended when he is shipwrecked, the solitary survivor on a deserted island. He gradually creates a life for himself, building a house, cultivating the land, and making a companion from the native whose life he saves.Daniel Defoe's enthralling story-telling and imaginatively detailed descriptions have ensured that his fiction masquerading as fact remains one of the most famous stories in English literature. On one level a simple adventure story, the novel also raises profound questions about moral and spiritual values, society, and man's abiding acquisitiveness. This new edition includes a scintillating Introduction and notes that illuminate the historical context. 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.

'Woe to the rash mortal who seeks to know that of which he should remain ignorant; and to undertake that which surpasseth his power!'The Caliph Vathek is dissolute and debauched, and hungry for knowledge. When the mysterious Giaour offers him boundless treasure and unrivalled power he is willing to sacrifice his god, the lives of innocent children, and his own soul to satisfy his obsession. Vathek's extraordinary journey to the subterranean palace of Eblis, and the terrifying fate that there awaits him, is a captivating tale of magic and oriental fantasy, sudden violence and corrupted love, whose mix of moral fable, grotesque comedy, and evocative beauty defies classification. Originally written by Beckford in French at the age of only 21, its dreamlike qualities have influenced writers from Byron to H. P. Lovecraft.This new edition reprints Beckford's authorized English text of 1816 with its elaborate and entertaining notes. In his new introduction Thomas Keymer examines the novel's relations to a range of literary genres and cultural contexts. 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.

The Oxford History of the Novel in English is a 12-volume series presenting a comprehensive, global, and up-to-date history of English-language prose fiction and written by a large, international team of scholars. The series is concerned with novels as a whole, not just the 'literary' novel, and each volume includes chapters on the processes of production, distribution, and reception, and on popular fiction and the fictional sub-genres, as well as outlining the work of major novelists, movements, traditions, and tendencies.Volume 1 explores the long period between the origins of printing in late fifteenth-century England and the establishment of the novel as a recognized, reputable genre in the mid eighteenth century. Later chapters in the volume provide original, authoritative accounts of innovations by the major canonical authors, notably Defoe, Richardson, and Fielding, who have traditionally been seen as pioneering 'the rise of the novel', in Ian Watt's famous phrase. With its extended chronological and geographical range, however, the volume also contextualizes these eighteenth-century developments in revelatory new ways, to provide a fresh, bold, and comprehensive account of the richness and variety of fictional traditions as they developed over two and a half centuries. The volume thus establishes a newly comprehensive mapping of early fiction that rectifies the shortcomings and exclusions of established 'rise of the novel' scholarship. These include the relative neglect of the importance of women writers, following Behn's reinvention of romance in the 1680s, in shaping novelistic themes and techniques; a restrictive generic definition based on circumstantial and psychological realism to the exclusion of non-realist modes that flourished for centuries beforehand; a teleological bias that overlooks or downgrades phases and types of fiction production, such as the richly variegated category of Elizabethan fiction, that resist being assimilated into narratives of evolution or ascent; a reductive Anglocentrism that leaves out of account the translation, reception, and pervasive influence from the sixteenth century onwards of, among much else, the 'ancient novel' of Apuleius and Heliodorus; Byzantine, Arabian, and Eastern traditions; the Italian novella from Boccaccio to Bandello; Spanish picaresque and anti-romance; and a range of French narrative modes from Rabelais to Marivaux. Alongside these key contexts, the volume treats the emergent novel as, above all, a phenomenon of print culture, with close attention to conditions of authorship, publishing, and reading across the extended period.

This 2004 volume offers an introduction to British literature that challenges the traditional divide between eighteenth-century and Romantic studies. Contributors explore the development of literary genres and modes through a period of rapid change. They show how literature was shaped by historical factors including the development of the book trade, the rise of literary criticism and the expansion of commercial society and empire. The first part of the volume focuses on broad themes including taste and aesthetics, national identity and empire, and key cultural trends such as sensibility and the gothic. The second part pays close attention to the work of individual writers including Sterne, Blake, Barbauld and Austen, and to the role of literary schools such as the Lake and Cockney schools. The wide scope of the collection, juxtaposing canonical authors with those now gaining new attention from scholars, makes it essential reading for students of eighteenth-century literature and Romanticism.

Samuel Richardson's Pamela (1740) is often regarded as the first true novel in English and a landmark in literary history. The best-selling novel of its time, it provoked a swarm of responses: panegyrics and critiques, parodies and burlesques, piracies and sequels, comedies and operas. The controversy it inspired has become a standard point of reference in studies of the rise of the novel, the history of the book and the emergence of consumer culture. In the first book-length study of the Pamela controversy since 1960, Thomas Keymer and Peter Sabor offer a definitive account of the novel's enormous cultural impact. Above all, they read the controversy as a market phenomenon, in which the writers and publishers involved were competing not only in struggles of interpretation and meaning but also in the larger and more pressing enterprise of selling print.

Best known today for the innovative satire and experimental narrative of Tristram Shandy (1759-67), Laurence Sterne was no less famous in his time for A Sentimental Journey (1768) and for his controversial sermons. Sterne spent much of his life as an obscure clergyman in rural Yorkshire. But he brilliantly exploited the sensation achieved with the first instalment of Tristram Shandy to become, by his death in 1768, a fashionable celebrity across Europe. In this Companion, specially commissioned essays by leading scholars provide an authoritative and accessible guide to Sterne's writings in their historical and cultural context. Exploring key issues in his work, including sentimentalism, national identity, gender, print culture and visual culture, as well as his subsequent influence on a range of important literary movements and modes, the book offers a comprehensive new account of Sterne's life and work.

This 2004 volume offers an introduction to British literature that challenges the traditional divide between eighteenth-century and Romantic studies. Contributors explore the development of literary genres and modes through a period of rapid change. They show how literature was shaped by historical factors including the development of the book trade, the rise of literary criticism and the expansion of commercial society and empire. The first part of the volume focuses on broad themes including taste and aesthetics, national identity and empire, and key cultural trends such as sensibility and the gothic. The second part pays close attention to the work of individual writers including Sterne, Blake, Barbauld and Austen, and to the role of literary schools such as the Lake and Cockney schools. The wide scope of the collection, juxtaposing canonical authors with those now gaining new attention from scholars, makes it essential reading for students of eighteenth-century literature and Romanticism.

Samuel Richardson's Pamela (1740) is often regarded as the first true novel in English and a landmark in literary history. The best-selling novel of its time, it provoked a swarm of responses: panegyrics and critiques, parodies and burlesques, piracies and sequels, comedies and operas. The controversy it inspired has become a standard point of reference in studies of the rise of the novel, the history of the book and the emergence of consumer culture. In the first book-length study of the Pamela controversy since 1960, Thomas Keymer and Peter Sabor offer a definitive account of the novel's enormous cultural impact. Above all, they read the controversy as a market phenomenon, in which the writers and publishers involved were competing not only in struggles of interpretation and meaning but also in the larger and more pressing enterprise of selling print.