350 research outputs found
Clarissa Mott letter to Charity Rotch, Norwalk, Connecticut, May 27
No full textClarissa Mott comments on the character of James Jackson, a vile man who has scandalized the character of Mrs. Belden and her two daughters, reporting that they were prostitutes. Jackson, addicted to profanities and gambling was on his way to Ohio after escaping the wrath of his neighbors in Connecticut. Although Mrs. Mott's husband was under no obligation to Thomas Rotch, she felt compelled to warn Charity to avoid Jackson if he arrived in the Kendal neighborhood. Mott warns that Jackson will take every opportunity to victimize women. 9" x 12.5" (20.2 by 32 cm
Dataset supporting the University of Southampton Doctoral thesis "Self-states, attachment and dissociation: relationships and measurement".
No full textDataset supporting the University of Southampton Doctoral thesis "Self-states, attachment and dissociation: relationships and measurement" by Clarissa Lord.
This data includes an excel file of collected data created by the author as part of their research. </span
Richardson, Barbauld, and the construction of an early modern fan club
No full textMPhilMuch has been written about the life and long works of the eighteenth century epistolary novelist, Samuel Richardson, but the prospect of his position as the first celebrity novelist – responsible for courting his own fame as well as initiating his own fan club – has largely been ignored. The body of manuscripts housed at the National Art Library in the Victoria and Albert Museum in London provides the modern scholar with evidence of the skeletal beginnings of an early fan club. This thesis aims to show how these manuscripts were turned into a saleable commodity by the publisher and entrepreneur Richard Phillips, while under the guiding hand of another, slightly later, literary celebrity, Anna Laetitia Barbauld. In order to restore Richardson’s reputation amongst a new nineteenth century audience, Barbauld was required to construct her own idea of him as an eighteenth century celebrity author, and in doing so the insecurities of a self-professed, apparently diffident man, are revealed. Barbauld’s capacious, but heavily edited selection of letters is analyzed in this thesis, providing ample evidence that Richardson’s correspondents were more than just eager letter writers. By using Barbauld’s biography of Richardson this thesis aims to show how she manipulates the genre of life writing in her construction of him.
This thesis offers an alternative reading of how the Richardson manuscripts are viewed, redefining them as not simply a collection of letters, but as a collective entity, deliberately selected and archived as evidence of an early modern fan club, and its celebrity managing director
The History Behind "Surviving Sarasota"
No full textAuthor Clarissa Thomasson discusses the history of Sarasota County, which she based her fiction novel "Surviving Sarasota" on
Clarissa against the critics: Text, author, and interpretive communities
No full textClarissa was very popular when it was published in 1747-48 but has been neglected until recently. Stanley Fish\u27s theory of interpretive communities, which attempts to account for the disciplined disagreement among readers\u27 values and expectations over time, place, and social groups, provides insight into the dynamics of the audience\u27s changing attitude toward the novel over the years. Popular, at first, for its sentiment and didacticism, Clarissa was neglected from the late-eighteenth century until the mid-twentieth century because these qualities were then associated with emotionalism and hypocrisy. The novel has had a rebirth of popularity among contemporary academics who use its complex and detailed descriptions of relationships and mental consciousness as examples for their literary and cultural studies
A Fine Toothed Comb
No full textThe publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe.
Edited by Beth Hughes. Designed by Pony Ltd, London.
A Fine Toothed Comb was an exhibition curated by Turner Prize-winning artist Lubaina Himid. Bringing together new commissions by Himid as well as artists Magda Stawarska, Rebecca Chesney and Tracy Hill, the exhibition focussed on unearthing hidden layers within the city of Manchester.
Through four unique installations spanning painting on found objects, multi-screen moving image, site-specific drawing and sound compositions, the artists’ work uncovered invisible geological, historical, environmental and political layers of the city. From hidden waterways and disappearing wildlife, to lost music and communities hidden in plain sight, A Fine Toothed Comb invited us to look closer at what surrounds us. This is the first time all four artists’ work was presented together, following many years of discussion and collaboration.
The publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe
The Power...to Alter and Amend : Textual Production and Editorial Actions in Samuel Richardson\u27s Clarissa .
No full textThis dissertation is a study of texts, focusing on how texts are constructed (through both words as well as physical attributes) and how they are edited after their initial composition. The scope of this dissertation is limited to Samuel Richardson (1689-1761) and his rare 1750 third edition of Clarissa and to the characters in Clarissa and their familiar letters. I argue that the altering of a text is a negotiation of power between the editor and the author, and that editors advance their personal agendas by undermining the intentions of the author. In Chapter 1, I explain the relevancy of textual studies to literary criticism. In Chapter 2, I examine how Richardson, master printer as well as author, constructs Clarissa as a material text, meaning that he builds plot, characterization, and his didactic message through the text\u27s linguistic as well as physical features. In Chapter 3, I address the familiar letters constructed by characters within Clarissa. Although the material details of these fictional letters--including handwriting and seals--cannot be seen by readers of the novel, they can still be conceptualized in the mind and interpreted for their visual meaning. In Chapter 4, as a transition to the editing of texts, I summarize the eighteenth- and twentieth-century editorial theories most relevant to Clarissa. In Chapter 5, I evaluate Richardson\u27s role as editor of Clarissa, focusing on the textual apparatus he constructs around his novel. Richardson exploits the editorial role in a manner not seen in other eighteenth-century novels, using the apparatus to control readers\u27 interpretations. In Chapter 6, I discuss the characters in Clarissa as editors, showing how they frequently alter and even forge/rewrite letters after their initial composition. These editorial actions, which I refer to as fictional editing, expand the narrative beyond the initial act of writing and complicate the issues of characterization, gender, and subjectivity inherent in the familiar letter. In Chapter 7, I conclude by suggesting additional concerns for textual/literary critics, including the implications of lost physical details in electronic texts
Poetics and economy of communication in Samuel Richardson's Clarissa
No full textLe 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 interne entre ses personnages et des exigences d'une communication externe qui voit le matériau épistolaire affluer vers le Lecteur. Elle s'efforce de souligner à quel point le scénario romanesque est informé par la nature des communications au travers desquelles il s’exprime ainsi qu'à travers les communications auxquelles il donne lieu (Clarissa étant l'objet d'âpres négociations entre son auteur et ses lecteurs), tout comme il informe à son tour la nature de ces communications. L'examen de la communication dans et autour du roman de Richardson met en évidence l'existence d'une poétique qui est aussi une économie. L'histoire de Clarissa n'est pas tant l'histoire de ses lettres que celle de ses communications.The problem of communication, and not only that of the danger of the liaisons, is at the heart of the epistolary novel in general and of Samuel Richardson's Clarissa in particular. Constantly threatened with interruption, the communication represented in the diegesis of Richardson's second novel also informs meaning and thus belongs to what Janet Altman called epistolarity. This study concentrates on the code of communication represented in the work and endeavors to grasp the letter in its particular economy of communication, at the crossroads of internal communication between its characters and the demands of an external communication that requires that the epistolary material be oriented towards the reader. This study strives to underline to what extent the novelistic scenario is informed by the nature of the communications through which it expresses itself as well as by the communications it produces among its readers in the shape of letters to the author. The examination of communication in and around Richardson's novel bears witness to the existence of a poetics that is also an economy. The history of Clarissa is not so much that of its letters as that of its communications
The 'true use of reading' : Sarah Fielding and mid eighteenth-century literary strategies.
No full textPhDThe aim of this thesis is to explore, by examining her life and
works, how Sarah Fielding (1710-68) established her identity as an author.
The definition of her role involves her notions of the functions of
writing and reading.
Sarah Fielding attempts to invite readers to form a sense of ties
by tacit understanding of her messages. As she believes that a work
of literature is produced through collaboration between the writer and
the reader, it is an important task in her view to show her attentiveness
toward reading practice. In her consideration of reading, she has two
distinct, even opposite views of her audience: on the one hand a familiar
and limited circle of readers with shared moral and cultural values and
on the other potential readers among the unknown mass of people. The
dual targets direct her to devise various strategies. She tries to
appeal to those who can endorse and appreciate her moral values as well
as her learning. Her writings and letters testify that she is sensitive
to the demands of the literary market, trying to lead the taste of readers
by inventing new forms.
The thesis opens with an overview of Sarah Fielding's career,
followed by a consideration of her critical attention to the roles of
reading. I go on to examine the narrative structures and strategies
she deploys, with a particular emphasis on her use of the epistolary
method. The following chapter deals with her attention to the reading
of the moral message tangibly embodied in her educational writing. It
is followed by an analysis of the activity which earned her a reputation
as a learned woman. Various as the forms of her works are, they invariably
reflect her attempt to balance herself between the two demands of
inventiveness and familiarity
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
- …
