Henry Fielding

Why did marriage become central to the English novel in the eighteenth century? As clandestine weddings and the unruly culture that surrounded them began to threaten power and property, questions about where and how to marry became urgent matters of public debate. In 1753, in an unprecedented and controversial use of state power, Lord Chancellor Hardwicke mandated Anglican church weddings as marriage's only legal form. Resistance to his Marriage Act would fuel a new kind of realist marriage plot in England and help to produce political radicalism as we know it. Focussing on how major authors from Samuel Richardson to Jane Austen made church weddings a lynchpin of their fiction, The Origins of the English Marriage Plot offers a truly innovative account of the rise of the novel by telling the story of the English marriage plot's engagement with the most compelling political and social questions of its time.

The Restoration Period is an age of enormous energy and inventiveness in that it has produced Paradise Lost, The Country Wife and Pilgrim's Progress. Both literature and philosophy began to flourish in this period. Moreover, it would be impossible not to mention the works of prose in this period, but it is also impossible to satisfactorily date the beginning of the novel in English literature. On the other hand, without speaking of the early-period (amateur) novel, it seems extremely difficult to discuss the eighteenth-century literature. The British novel can be studied under the light of many themes, because many of the works of prose, from the very beginning to the contemporary novels, use some recurring topics or themes in different types of novel. The protagonists' journeys so frequently make up the form and the message of the stories. This type of journeys is observable in almost all novels of the period. Thus, this study undertakes to explore the travel as a narrative framework in the novels of this period, the five early novels of British novel tradition, which are Idalia (1723), Robinson Crusoe (1719), Pamela (1740), Joseph Andrews (1742), and Tristram Shandy (1759), and foreground the travel pattern as a driving force in the context of plot and meaning in these classical novels. Özet Restorasyon Dönemi, Paradise Lost, Country Wife ve Pilgrim's Progress gibi eserlerin üretildiği dönem olması bakımından muazzam bir enerji ve yaratıcılık çağıdır. Hem edebiyat hem de felsefe bu dönemde geliş-meye başlamıştır Dahası, bu dönemde yazılan eserlerden bahsetmemek imkansızdır, ancak İngiliz edebiya-tında romanın başlangıcını tatmin edici bir şekilde tarihlemek de imkansızdır. Fakat öte yandan, erken-dönem (amatör) romandan bahsetmeden on sekizinci yüzyıl edebiyatını tartışmak çok zordur. İngiliz romanı birçok temanın ışığı altında incelenebilir çünkü, en başından günümüz romanlarına kadar, eserlerin çoğu farklı roman türlerinde tekrar eden bazı konular veya temalar kullanmıştır. Bu erken-dönem romanlarda kahramanların yolculukları sık sık hikayelerin biçimini ve mesajını oluşturur. Bu tür yolculuklar, dönemin neredeyse tüm romanlarında gözlemlenebilir. Bu nedenle bu çalışma, Idalia (1723), Robinson Crusoe (1719), Pamela (1740), Joseph Andrews (1742) ve Tristram Shandy (1759) gibi İngiliz roman geleneğinin beş erken-dönem romanında bir anlatı çerçevesi olarak yolculuk fikrini tartışmayı amaçlamaktadır ve bu klasik romanlarda, olay örgüsü ve anlam bağlamında itici bir güç olarak yolculuk motifini ön plana çıkaracaktır.

Beginning with the conversion of prisoners in Plato's Cave the paper takes the reader through the Platonic tradition in its convergence with the Christian Scriptures to Augustine, Proclus, Boethius, Eriugena, Aquinas, Bonaventure, Dante, Richardson, Fielding and Jane Austen.

BİRİNCİ BÖLÜM
Genel olarak hayatlar üzerine ve özel olarak Pamela hakkında yazmak. Ayrıca birkaç kelâm da Colley Cibber ve diğerleri üzerine.
Örneklerin insan aklı üzerinde kurallardan daha güçlü bir etkide bulunduğu, bayatlamış olsa da doğru bir gözlemdir. Bu gözlem nahoş ve kötü durumlar için geçerliyken, hoş ve takdire şayan durumlar için daha da geçerlidir. Bu noktada öykünme dediğimiz şey tüm gücüyle üzerimizde hükmünü icra eder ve bizi karşı konulmaz bir şekilde taklide sevk eder. Dolayısıyla iyi bir insan tüm yakın çevresi için canlı bir ders mahiyetindedir ve bu dar muhitte iyi bir kitaptan çok daha yararlıdır. Ne var ki en iyi insanlar genellikle pek az tanınırlar ve bu nedenle yararlı örneklerini çok fazla insana ulaştıramazlar. Bu noktada, onların hikâyelerini daha geniş kesimlere yaymak ve aslını bilme bahtına erişememiş olanlara bu hoş görüntüleri sunmak üzere yazar yardıma çağrılabilir. Böylece yazar belki de bu tür değerli örnekleri dünyaya tanıtarak, yaşamıyla bize bu örneği sunan kişiden daha büyük bir hizmet sunabilir insanlığa. İşte her iki cinsiyetten de büyük ve değerli şahsiyetlerin yaşadıklarını bizlere anlatan bu yaşamöykücülerini ben her zaman bu bağlamda değerlendirmişimdir. Kullandıkları dil eski ve günümüzdeki genel kanıya göre anlaşılamaz olduğundan, son zamanlarda çok az okunan Plutarkos ve Nepos gibi antikçağ yazarlarını ve gençliğimde adları kulağıma çalınmış olan diğerlerini bir kenara bırakırsak; bizim kendi dilimizde de gençler arasında erdem tohumları ekmek üzere tasarlanmış ve orta karar bir anlama yetisi olan herkes tarafından kolaylıkla anlaşılabilecek birçok faydalı ve bilgilendirici eser vardır. Mesela, cesurluğu ve kahramanlığıyla iri yarı ve atletik bedenlere sahip insanlara meydan okuyarak şanlı " dev avcısı " unvanını alan Muhteşem John'un hikâyeleri; Guy adlı Warwick Kontu'nun hikâyeleri; Argalus ile Parthenia'nn yaşamları ve hepsinden de öte Hıristiyanlığın Savunucuları olan yedi mümtaz şahsiyetin hikâyeleri… Bütün bu eserlerde zevk ile bilgi iç içe geçmiştir ve okur hem eğlenir, hem de bilgilenir. Fakat burada bunları ve daha pek çoğunu bir kenara bırakarak, geçenlerde yayımlanmış ve her iki cinsten de en hoş özelliklerin hayran olunacak örneklerini sunan iki kitaptan bahsetmek istiyorum. Erkeğin erdemlerini ele alan ilki, naklettiği yaşamı bizatihi yaşamış o büyük insanın kendisi tarafından yazılmıştır ve pek çoklarına göre sırf yazabilmek adına bu

A smaller version of this paper was published as “Conversion: Ontological & Secular from Plato to Tom Jones”,  Numero Cinq, V: 7, July 2014  and is posted elsewhere on Academia.edu. Its aim is to present some features of conversion as represented over about twenty-five hundred years in the pagan and Christian west in a way which may prove illumining because not expected. Rather than looking at conversion as primarily a religious phenomenon, though not leaving this out, I shall mainly present it as psychic, ontological, and secular.  Moreover, although these three aspects can be seen together at almost every point, in order to bring out differences, I shall stress the psychological through Plato’s dialogues, the ontological through Neoplatonic – Peripatetic systems, and the secular through 18th and early 19th century novels of Samuel Richardson, Henry Fielding and Jane Austen. The elements touched on from Plato and his Late Ancient and Medieval successors will largely be determined by what is modified or suppressed by our cast of English novelists.
The major section on Jane Austen's novels is entitled "Secularization Completed and the Beginnings of a Critique." They are not the loss of conversion in the Christian Platonist tradition but rather such a complete passage into the processes of social and individual life, i.e. secularization, that religious forms need not be represented along side them. Jane Austen is a modern Sophocles in his difference from Euripides and Aeschylus. Indeed, there is a sense in which her novels are the deepest treatments of conversion in the genre.

Ian Watt

Romanın Yükselişi

Defoe, Richardson ve Fielding Üzerine İncelemeler

Özgün adı: The Rise of the Novel


Çeviri: Ferit Burak Aydar

Yayına Hazırlayan: Bülent Doğan

Kapak Tasarımı: Emine Bora, Semih Sökmen


Kitabın Baskıları:
1. Basım: Mayıs 2007


Yirminci yüzyılda edebiyat tarihi ve eleştirisi alanının en etkili olmuş, en çok alıntılanmış ve tartışılmış klasiklerinden biri olan Romanın Yükselişi nihayet Türkçede.

Ian Watt on sekizinci yüzyıl İngiliz edebiyatının önde gelen üç romancısı, Defoe, Richardson ve Fielding'in kitaplarına dair gayet özgün ve derinlikli yorumlar sunarak, bu romancıların modern roman geleneğinin oluşumundaki önemli rollerini araştırıyor. Bağlamsal eleştirinin seçkin örneklerinden birini sunarak, ele aldığı romanları Batı tarihinin belirgin dönemeçleriyle ilişkilendirerek değerlendiriyor: Orta sınıfların ve ekonomik bireyciliğin yükselişi, on yedinci yüzyıldaki felsefi yenilikler, kadınların toplumsal konumundaki karmaşık değişimler gibi "dışsal" etkenlerin modern roman tahayyülünün biçimlenmesinde nasıl bir rol oynadıklarını inceliyor.
http://www.metiskitap.com/catalog/book/4661

Restorasyon Donemi, Paradise Lost, Country Wife ve Pilgrim’s Progress gibi eserlerin uretildigi donem olmasi bakimindan muazzam bir enerji ve yaraticilik cagidir. Hem edebiyat hem de felsefe bu donemde gelismeye baslamistir. Dahasi, bu donemde yazilan eserlerden bahsetmemek imkansizdir, ancak Ingiliz edebiyatinda romanin baslangicini tatmin edici bir sekilde tarihlemek de imkansizdir. Ingiltere'de kurgu eserler, romanslar ve kurgusal biyografiler ortaya cikmaya baslamis olsa da bu erken donemde roman olarak adlandirilmamistir. Fakat ote yandan, erken-donem (amator) romandan bahsetmeden on sekizinci yuzyil edebiyatini tartismak imkânsiz gibi gorunmektedir. Ingiliz romani bircok temanin isigi altinda incelenebilir cunku, en basindan gunumuz romanlarina kadar, eserlerin cogu farkli roman turlerinde tekrar eden bazi konular veya temalar kullanmistir. Bu erken-donem romanlarda kahramanlarin yolculuklari sik sik hikayelerin bicimini ve mesajini olusturur. Bu tur yolculuklar, donemin n...

The eighteenth century was a decisive period for the rise and consolidation of the English novel. Considering Henry Fielding's (1707-1754) importance in such process, this article aims to analyze the relationship between fiction and reality in some of his works-with emphasis on Joseph Andrews (1742) and its preface, but also considering Shamela (1741) and Tom Jones (1749). For such relationship, the construction of humor or comic is crucial, because the affectation is, in Fielding's view, the only source of the true ridiculousness present in the world. It is through affectation that fiction and reality come together in their idiosyncrasies and interpenetrations, which allows Fielding to subvert and raise to absurdity the quest for factuality that was common to novels at the time.

A Short Description Mustafa Zeki Çıraklı, who is an academician, a critic, a translator but before anything else a literary thinking individual, intends to give a clear picture of novel as a field of art by describing Henry Fielding's , who is one of the most outstanding writers of English literature and a leading figure of the genre, thoughts in detail. He takes us into a magical journey in the history of narration and makes us understand what a novel is by analysing Fielding's novel Tom Jones because of its literary quality as well as its extraordinary and innovative position. The book consists of three different parts. After an introductory section, the writer focuses on the depiction of human nature and the history of comic-epic narratology in the first part. The second and, to me the most important part of the book, mainly sheds light upon Fielding's novel Tom Jones and the essays about the history of the genre which enable the reader to grab the core meaning in his understanding of narrative. The last part of the book named Reading Henry Fielding in a (Post)modern age is presented instead of a conclusion section and aims to create a link between the reading behaviours of readers and the birth of the genre. Throughout the book, one can find a competent analysis of a progressive writer's ideas and ideals; and of course, it can be considered as a well-prepared handout for Turkish readers with its stimulating approach in terms of novel as a field of art. A Climax in English Literature In order to understand the book deeply, it will be much better to go back to the history of novel because the writer wants to illustrate the gorgeous birth of the genre especially in terms of English Literature but in general, for the world literature itself. As it is widely accepted, Cervantes's Don Quixote is the first example of the genre. Therefore, the writer clearly describes the similarities and differences between Don Quixote and Tom Jones as well as those between Cervantes and Fielding by referring some other critics as well. According to the writer, Tom Jones, which is accepted as a masterpiece ahead of its time by many scholars, is important not only because of its literary style and fiction but also of its historical background. He defines the book as a "history of England where great changes and transformations were taking place (p14)" and suggests that the book can possibly be read allegorically like any other literary pieces of works. On the other hand, he refers to the name of the book The history of Tom Jones and defines the book as a historiography of Fielding and adds that Fielding had aimed to narrate not human beings but their habits and manners (p 15) which consisted of his supplies. As a Bildungsroman and a picaresque novel Tom Jones, is described as an example of a new genre which includes some common points with previous approaches like its being a burlesque one but blends many traits to narrate a multi-dimensional and a polyphonic story (p 16). Fielding's style is suggested to have been borrowed from Cervantes and it is suggested that he tried to combine comic features with traditional epic style which is intentionally done by him and this leads him to be a milestone in terms of the understanding of novel as a prose.

E consabido que o «outro lado do saber» sempre fara parte de qualquer processo investigativo, e seja qual for a materia equacionada para objeto de estudo, na espiral evolutiva de cada projeto o investigador confronta-se, e por vezes surpreende-se, com «o outro», seu par na mesma ou noutras materias, mas sempre de capital importância na producao do conhecimento. E so apos a consciente interpenetracao de saberes, regidos embora por contextualizacoes e conceptualizacoes segundo quadros epistemologicos de cada epoca, se chega ao ato da palavra escrita. Transferindo-nos entretanto dos rigores do trabalho academico para a liberdade do trabalho literario ficcional, de facto tambem estes autores se debatem com processos de interacao. O esforco por contrariar a centralidade no «eu» a que se tem vindo a assistir nos ultimos tempos fora ja, afinal, uma preocupacao de outros momentos, dos escritores romântico-realistas, por exemplo, cuja plasticidade de recursos literarios se procurara demonstr...

Esta Tese de Doutoramento pretende aclarar alguns aspectos da obra do escritor Júlio Dinis bem como introduzir algumas inflexões analíticas que, até ao momento, não se encontram no escopo crítico literário. Faz-se um levantamento de alguns posicionamentos narrativos, criticamente observados no âmbito da literatura portuguesa, e procura-se renovar a imagem das relações literárias estabelecidas com alguns escritores portugueses. No âmbito comparatista, dado que nos romances de Júlio Dinis se estabelece uma inquestionável ligação às literaturas inglesa e irlandesa (de notar que o escritor era filho de mãe inglesa e neto de avós inglês e irlandesa), decorrendo das temáticas comummente trabalhadas são chamados a este os escritores Laurence Sterne, Oliver Goldsmith, Henry Fielding, Jane Austen e Charles Dickens. O inovador tratamento psicológico atribuído por Júlio Dinis ao sujeito e à sociedade na literatura do século XIX português aprofunda claramente as raízes na tradição literária inglesa do século XVIII. Este tratamento esforça-se por aproximar as classes sociais a partir das relações individuais e, lutando pela ordem e justiça que integra um quadro de valores morais, torna-se manifesto o esboço da utopia social. Os recursos da influência literária inglesa no trabalho dinisiano são vários: a pintura é utilizada como processo intersemiótico de incentivo à auto-estima do leitor; a perspectiva judicativa, quer aplicada pelo sujeito, quer pela sociedade, expõe-se como o indesejável constrangimento que só a metamorfose psicológica consegue ultrapassar; a mundivisão do teatro na vida, e da vida no teatro é promotora do permanente esforço de utilização da máscara; invoca-se a androginia que, aplicada às personagens femininas, pretende claramente conferir especiais atributos à mulher; o corpo e a casa apresentam-se como linguagem do pensamento; (...).

This essay explores Henry Fielding's development of the marriage plot in Shamela (1741) and Joseph Andrews (1742). Surveying theatrical echoes in these works, which are particularly apparent in their marriage plots, I make the case that Fielding's first two novels are clearly indebted to his former career as a dramatist in the London stage of the late 1720s and early 1730s. I argue that, in writing Shamela and Joseph Andrews, Fielding was responding to Samuel Richardson's Pamela in a way that corresponded to how his plays were reactions to other popular theatrical entertainments of his time. This complicates the conventional critical view that it was Richardson's first novel, with its outstanding popularity, which drove Fielding to propose a radically opposite model for fiction writing.

Link to the article:
http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/eighteenth_century_fiction/v027/27.2.maioli.html

In this article I claim that the theory of fiction Henry Fielding developed in Joseph Andrews and Tom Jones is meant to address an understudied tension between empiricism and the pedagogic ambitions of the eighteenth-century novel. Empiricist philosophers like John Locke and David Hume dismissed imaginative narratives as unlikely sources of socio-ethical knowledge, which they insisted should be drawn instead from direct experience or reliable factual reports. I argue that Fielding’s moral epistemology was more fundamentally empirical than scholars usually recognize, and that an important function of his theoretical chapters in Joseph Andrews and Tom Jones is to show that prose fiction can be sufficiently grounded in the data of experience to meet the epistemic standards of empiricism. Fielding, I suggest, pursues this goal by developing two theses: first, that his characters and events are embodiments of principles derived inductively from observation and experience, and, second, that the conformity between the copies and the originals can be empirically measured by the reader’s subjective sense of probability.

Best known today for the novels Joseph Andrews and Tom Jones, Henry Fielding was just as renowned in his own time as a prolific and highly successful dramatist. Among his most popular plays was The Tragedy of Tragedies: Or, The Life and Death of Tom Thumb, one of the most extraordinary parodies in English theater. The print version of the play incorporates, in an elaborate structure of annotations, a remarkable satire of heroic drama and of the pretensions and excesses of "false scholarship."

This edition includes the text of the play itself and the text of the extraordinary notes (by Fielding's pseudonym "H. Scriblerus Secundus"), appearing in facing page layout; extensive explanatory notes for the modern reader appear at the bottom of the page. Also included are a substantial introduction and a wide range of background materials that set the work in the context of its time. These contextual materials include contemporary reviews, excerpts from the plays that Fielding's parody most frequently targeted, and selections from works that provided inspiration for The Tragedy of Tragedies—from contemporary versions of the "Tom Thumb" folktale to satirical writing by authors such as Alexander Pope, John Gay, and George Villiers.

Comments:
"Featuring an excellent introduction, extensive notes and a generous sampling of contextual materials, this splendid new classroom edition of Henry Fielding's The Tragedy of Tragedies makes one of the most popular plays of the eighteenth century come alive for today's students. It will be useful to teachers of eighteenth-century British literature as well as of drama or theatre surveys." – Albert J. Rivero, Marquette University

"Fielding's Tragedy of Tragedies provides a master comedian's compact compendium of the heterogeneous sources of laughter and comic insight: farcical action and burlesque situations; literary parody; satire of bombast and pedantry; physical and verbal incongruities (a miniature hero and giant queen, diction that regularly plummets from lofty to low); mind-bending philosophical puzzles (a ghost threatened with death by sword); temporal inversions (footnotes asserting that lines from earlier plays have been cribbed from this one); reductions of poetic form ("Oh, Huncamunca, Huncamunca, oh"); and the bathos of compression and acceleration (seven stabbing deaths within ten lines at the play's close). The Broadview edition makes the play's full array of comic techniques readily accessible to any reader:  effectively edited and cleverly formatted as a facing-page edition, with Fielding's mock-scholarly footnotes filling right-hand pages, the edition would serve equally well as the basis for uproariously funny stage productions and for study as a revealing print artifact from the Augustan Age. I recommend this edition as required reading for courses on Restoration and eighteenth-century drama, The Age of Swift and Pope, theater history, eighteenth-century literature, book history, and literary theory—and as pleasure reading for anyone interested in drama, the novel, or a good laugh." – Jill Campbell, Yale University
   
Table of Contents:

Introduction

A Note on the Text

The Tragedy of Tragedies: or, the Life and Death of Tom Thumb the Great

IN CONTEXT:

I. Sources and Satiric Models

From The Famous History of Tom Thumb (1750)
From George Villiers, Second Duke of Buckingham, The Rehearsal (1672)
From William Wagstaffe, A Comment Upon the History of Tom Thumb (1711)
From John Gay, The What D'Ye Call It: A Tragi-Comi-Pastoral Farce (1715)
From Jonathan Swift, Gulliver's Travels (1726)
From Alexander Pope, Peri Bathous: Or, The Art of Sinking in Poetry (1728)
From Alexander Pope, The Dunciad Variorum (1729)
From James Ralph, The Touch-Stone: Or, Historical, Critical, Political, Philosophical, and Theological Essays on the Reigning Diversions of the Town (1728)
From Henry Fielding, Tom Thumb. A Tragedy.…Written by Scriblerus Secundus (1730)

II. "Acting Play" to "Reading Play": Performance, Print, Parody

From John Dryden, The Conquest of Granada by the Spaniards and "Of Heroic Plays: An Essay" (1672)
From John Dryden, All for Love: Or, The World Well Lost (1678)
From Thesaurus Dramaticus. Containing all the Celebrated Passages, Soliloquies, Similes, Descriptions, and Other Poetical Beauties in the Body of English Plays, Ancient and Modern, Digested Under Proper Topics (1724)
From James Thomson, The Tragedy of Sophonisba (1730)

III. Reception

From Advertisements in Contemporary Periodicals (1731)
From London Evening Post (18–20 March 1731)
From Daily Post (19 March 1731)
From Daily Post (22 March 1731)
From Daily Post (28 April 1731)
From The Universal Spectator (10 April 1731)
From The Grub-Street Journal (18 November 1731)
From William Hatchett and Eliza Haywood,The Opera of Operas; Or, Tom Thumb the Great. Altered from The Life and Death of Tom Thumb the Great. And Set to Musick after the Italian Manner (1733)
From Observations on the Present Taste for Poetry (1739)
From Giles Jacob, The Mirrour: Or, Satyrical, Panegyrical, Serious, and Humorous on the Present Times (1733)
From Samuel Foote, Taste. A Comedy of Two Acts (1752)
From David Erskine Baker, Biographia Dramatica: Or, A Companion to the Playhouse (1764)
From William Hazlitt, "Of the Comic Writers of the Last Century" (1819)

Attached is the Introduction to *The Theater of Experiment: Staging Natural Philosophy in Eighteenth-Century Britain* (Oxford UP:2016).  For the full text, copies are available for sale via OUP website.  You can message me for a discount code.  The book is also available through Oxford Scholarship Online.

The first book-length study of the relationship of science and theater during the long eighteenth century in Britain, The Theater of Experiment explores crucial role of spectacle and performance in the establishment of modern science by analyzing how eighteenth-century science was “staged” in a double sense.  On the one hand, this study analyzes science in performance: the way that science and scientists were made a public spectacle in comedies, farces and pantomimes for purposes that could range from the satiric to the pedagogic to the hagiographic.  But this book also considers the way in which these plays laid bare science as performance: that is, the ways in which eighteenth-century science was itself a kind of performing art, subject to regimes of stagecraft that reverberated across the laboratory, the lecture hall, the anatomy theater, and the public stage. Not only did the representation of science and scientists in eighteenth-century plays influence contemporary debates over the role that experimental science was to play in modern life, the theater shaped the very form that science itself was to take. By disciplining, and ultimately helping to legitimate, what was then called natural philosophy, the eighteenth-century stage helped to naturalize an epistemology based on self-evident, decontextualized facts that might speak for themselves.  In this, the stage and the lab jointly fostered an Enlightenment culture of spectacle that transformed the conditions necessary for the production and dissemination of scientific knowledge.

Ian Watt, "Romanın Yükselişi" (Matis, 2007) kitabına "Çevirmenin Sonsözü", s. 347-64

Ian Watt’ın klasik çalışması Romanın Yükselişi (1957) çok değil birkaç ay sonra yarım yüzyılı devirmiş olacak. Yazarın ilk başta doktora tezi olarak tasarladığı bu çalışma, sonrasında adeta kendi organik gelişimi sonucu, başlıbaşına bir edebiyat türü olarak romanın kökenleri ile gerçekçilik arasındaki ve daha genel anlamda burjuva toplumu ile roman arasındaki ilişki üzerine yirminci yüzyılın ikinci yarısında dönen tartışmalarda terimleri belirleyici (“paradigma kurucu”) bir rol oynadı. Öyle ki son yirmi yıllık dönemde, Michael McKeon  da dâhil olmak üzere, Watt’ın argümanlarını ilerleten ya da genişleten yazarlar birçok durumda ve hiç içerlemeden Watt’a olan borçlarını belirtmiştir.

This article suggests that comparative literature scholars may benefit from the awareness that different communities around the world subscribe to different models of mind and that works of fiction can thus be fruitfully analyzed in relation to those local ideologies of mind. Taking as her starting point the “opacity of mind” doctrine, found in the South Pacific and Melanesia, the author compares cultural practices originating in communities in which people think but do not talk publicly about others’ internal states, to those originating in communities in which people both think and talk about them, indeed, in which public speculation about other people’s intentions is (mostly) rewarded. While the immediate analysis centers on a very specific and limited set of case studies from English, Chinese, and Russian novels and Bosavi performance genres, the author’s larger goal is to begin to articulate opportunities and challenges of using research in theory of mind for the comparative study of literature.

Jonatan Meir, "The Discovery and Publication of Joseph Perl’s Yiddish Writings"

The attitude of Tarnopol satirist Joseph Perl (1773–1839) towards the Yiddish language has been discussed by a number of scholars. In particular, researchers have examined his views with regard to his most well-known satire, Sefer Megaleh temirin, which was printed in Hebrew in Vienna, 1819, with a partial Yiddish translation of the work appearing in Vilna, 1938. However, there remains much to be said concerning the creative process which guided Perl’s writing in Yiddish, as well as the later discovery and publication of his Yiddish works, both of which are chapters in the wider story of the development of Yiddish literature in the first half of the nineteenth century and the increasing scholarly interest in it at the outset of the twentieth century. This article briefly describes these multifaceted matters and then offers suggestions for the future study of Perl’s writing in particular, and maskilic Yiddish literature in general.

Why did eighteenth-century writers employ digression as a literary form of diversion, and how did their readers come to enjoy linguistic and textual devices that self-consciously disrupt the reading experience?  Darryl P. Domingo answers these questions through an examination of the formative period in the commercialization of leisure in England, and the coincidental coming-of-age of literary self-consciousness in works published between approximately 1690 and 1760.  During this period, commercial entertainers tested out new ways of gratifying a public increasingly eager for amusement, while professional writers explored the rhetorical possibilities of intrusion, obstruction, and interruption through their characteristic use of devices like digression.  Such devices adopt similar forms and fulfil similar functions in literature as do diversions in culture: they “unbend the mind,” according to Domingo, and reveal the complex reciprocity between commercialized leisure and commercial literature in the age of Swift, Pope, and Fielding.

CONTENTS.

“Unbending the Mind”: Introduction by Way of Diversion
  Reading and Diversionary Rhetoric, 1690-1760
  The Pleasures of Satire
  The Topography of Pleasure
  Bill of Fare

CHAPTER 1
“The Predominant Taste of the Present Age”: Diversion and the Literary Market
  The Genealogy of Commercialized Leisure
  Advertising, Audience, and Individualized Amusement
  Time and the Attack on Diversion
  Mental Unbending and the Work of Leisure
  Animadversions Upon Diversion
  Leisure for Literature

CHAPTER 2
“Pleas’d at Being so Agreeably Deceiv’d”: Pantomime and the Poetics of Dumb Wit
  Augustan Wit and the Apology for Pantomime
  Metaphor and Metamorphosis
  Pantomimic Poetics
  The Region of False Wit: A Two-Part Afterpiece
  The Serious  -  The Comic

CHAPTER 3
“Fasten’d by the Eyes”: Popular Wonder, Print Culture, and the Exhibition of Monstrosity
  Reading the Monstrous
  Sightseeing and Scriblerian Satire
  Monsters and Mimesis
  The Monstrosity of Print Culture
  Monsters and the Matter of Modernity
  Teratological Textuality

CHAPTER 4
“Pleasantry for thy Entertainment”: Novelistic Discourse and the Rhetoric of Diversion
  Digression and the Problem of Satiety
  The Novel as a Mode of Entertainment
  Plotting Diversion in Fielding’s Tom Jones
  Interest and Audience Response
  Diversionary Reading and the Rhetoric of Fiction

“The Soul of Reading”: Conclusion by Way of Animadversion
  Shandean Digression and the Ends of Diversion

Literary scholars often take at face value Henry Fielding’s most overt rejections of Bernard Mandeville, a writer he associated with egoism and who argued that self-interest is at the core of all virtuous action. Yet Fielding’s rejections are not decisive, tending instead towards ad hominem attacks, insubstantial objections, and unexpected accommodations of egoist arguments. Throughout his corpus, Fielding exhibits a creeping Mandevilleanism: egoist thought frequently gets uncredited airing in his works. Fielding’s debt to egoism is clearest in his attempts to define “good nature,” his highest term of approbation, which appears throughout his writings. Like Mandeville, Fielding understood that self-interest motivates virtuous action. The two writers diverged on whether the social goods of self-motivated action should be recognized, ultimately, as virtuous deeds. For Mandeville, self-interest cancels out the virtue of the act; for Fielding, a mislaid emphasis on motivation fails to account for the disposition of the actor, the consequent good produced, and the socially cohesive nature of mutual empathy.

For the full article, please visit https://muse.jhu.edu/article/671523 or contact the author at andrew.bricker@ugent.be

I examine the “science of human nature” of David Hume, Francis Hutcheson, Adam Smith, and other British moralists and writers, and show how this “science” is expression of the 18-century new way of looking at aesthetic and moral sentiment, passion and perception.  The “science of human nature”, which  may be (and commonly is) considered an ancestor of our philosophy and psychology, is in fact a radically historical form of knowledge, whose truth comes from history and whose notion of experience is that of a collection of human types and cases.  Its producers and intended readers were from the “conversable” and polite society -- that is, groups of non-philosophers, non-psychologists discussing people and life in moralistic and mechanistic terms.

"Nei circa dieci anni della sua attività di drammaturgo (1728-1737) Henry Fielding ha scritto 28 pièces, spaziando dalla commedia alla parodia letteraria, dalla satira politica alla farsa alla ballad opera. Una produzione ricca ma diseguale, che solo in anni recenti è stata oggetto di una significativa rivalutazione critica.
L’opera che qui si presenta nell’originale inglese con traduzione a fronte, The Mock Doctor/Il Finto Dottore, è un adattamento da Le Médecin malgré lui di Molière. L’intento dichiarato di restare fedele allo spirito del commediografo francese, più che alla sua lettera, consente a Fielding, attraverso una serie di interventi spesso minuti, ma sempre puntuali e precisi, di conferire a personaggi e situazioni una fisionomia nuova, in grado di risultare familiare al pubblico inglese. Il risultato, grazie anche all’aggiunta di nove canzoni che di fatto trasformano la commedia molieriana in una ballad opera, è una farsa musicale misurata e briosa, salutata, almeno fino alla metà dell’Ottocento, da un significativo e ininterrotto successo di pubblico. Ancora oggi The Mock Doctor è ritenuto uno dei più brillanti lavori teatrali di Fielding.

Indice:
Henry Fielding: la recita della scrittura, di Paolo Pepe
Molière: nota sul comico, di Delia Gambelli
Singing on the Stage: note sul testo e le partiture di The Mock Doctor, di Paolo Pepe
Bibliografia
The Mock Doctor/Il Finto Dottore, traduzione con testo a fronte di Alfredo Scott Hamill
Sotto mentite spoglie. L’adattamento sulle scene inglesi del Settecento, di Bianca Del Villano

Nota sul Curatore
Paolo Pepe è ricercatore di Letteratura inglese presso l’Università Telematica eCampus di Novedrate. Si occupa prevalentemente di narrativa del Settecento; in questo ambito ha pubblicato saggi su Beckford e sul romanzo sentimentale e la monografia La linea spezzata. Corpo e mente nel Tristram Shandy di Sterne (Il Mulino, 2012). Negli ultimi anni la sua ricerca si è concentrata su aspetti della poesia e del teatro inglesi fra Cinque e Seicento, con saggi su Donne, Shakespeare, e Daniel. Attualmente i suoi interessi di studio sono rivolti al teatro del Settecento, da Fielding a Lewis, e al romanzo gotico di primo e secondo Ottocento."

The performative dimension of Fielidng’s fiction has often frustrated the attempts of critics to read the machinery of his plot through the lens of rationalist Enlightenment philosophy. Rather than a deity or benevolent magistrate, Fielding’s narrator has seemed more like a trickster or charlatan manipulating a narrative full of spectacular coincidences and implausibilities. Historians of science, however, have shown that performances with spectacular machines played a key role in establishing the epistemological authority of empirical science in the eighteenth century. Like Fielding, moreover, eighteenth-century natural philosophers were accused of being charlatans staging magic shows. To distinguish themselves from their rivals, therefore, philosophers had to perform “boundary-work” in which they contrasted the enlightened knowledge produced by their performances with the vulgar superstition they claimed was perpetuated by magic shows. Fielding performs the same boundary-work in Tom Jones, carefully contrasting the enlightened “poetic Faith” solicited by the rationalized clockwork of his plot with the superstition incited by the baroque machinery of spectacular narratives that he represents as barbarous, foreign and antiquated. But he also follows other Augustan authors in acknowledging that the entertainments popular in the culture of spectacle had distinctly modern, domestic origins and that the residual “superstition” they cultivated was really the commodity fetishism integral to a new capitalist system of production. Fielding’s goal in Tom Jones was thus not to eliminate manipulative spectacle from modern narrative but to sustain and intensify it by directing it towards the higher purpose of producing philosophical knowledge.

One of the most significant changes in the history of the English language
is the decline in the variety of second-person pronouns.1 Numerous studies have been
done on the use of second-person pronouns in the periods in which both THOU and
YOU were used frequently, especially in Shakespearean works.2 However, THOU and
YOU in Late Modern English (1700-1900), the time when THOU had almost
disappeared, are rather neglected. There are only three studies including eighteenthcentury dramas in their corpora: those of Bock, Mitchell, and Walker.3 Moreover,
those studies are inadequate for revealing the whole perspective of second-person
pronouns in the eighteenth century. This study will show that THOU in the eighteenth
century was largely disappearing, though it managed to survive in a very specific and
narrow field. The research question is specifically focussed on the relationships
between the use of pronouns and genre of the plays.

Nel De Casibus virorum illustrium Boccaccio dedica un capitolo (VIII.11) alla tragica fine di Giuliano l'Apostata, presentandolo come vittima dell'ira divina a causa del suo tentativo di restaurazione pagana. Il confronto del capitolo VIII.11 con altri della medesima opera, con le fonti di Boccaccio e con passi riguardanti Giuliano in altri scrittori a lui anteriori permette di comprendere come l'autore fiorentino segua la tradizione medievale di condanna dell'Apostata. Egli, quindi, non anticipa l'umanista Pomponio Leto, che per primo, dopo la condanna medievale, elogia apertamente Giuliano nel Romanae Historiae Compendium. Questo saggio è stato edito in "Giovanni Boccaccio: tradizione, interpretazione e fortuna. In ricordo di Vittore Branca", a cura di Antonio Ferracin e Matteo Venier, Udine, Forum, 2014 (Libri e Biblioteche, 33), pp. 75-91 [ISBN 978-88-8420-849-1]

This essay questions the idea, commonplace in recent philosophy on both sides of the English Channel, that physical Nature, considered as comprehending all that really, objectively exists, is to be contrasted in that respect with Culture, considered as the sphere of human fantasy, imaginings and wishful thinking. It suggests inter alia that the work of Wittgenstein offers the best corrective to such ways of thinking.

The parish and the social systems it sustains are prominent in Henry Fielding’s Joseph Andrews. His parochial vision, formulated across the range of his literary, critical, and juridical writings, constitutes an intricate scheme of surveillance, discipline, and care that Fielding hoped to see applied throughout the nation. He combines a plan for reforming oversight of the poor (from the intimate confines of parish management through the supervisory offices of the county and the magistracy) with a heuristics of judgment and discrimination, based on the visible authenticity of poverty and verified by the ridiculousness of affectation, which he exemplifies through the antiromance of Joseph Andrews. Romance, for Fielding, is the literary version of affectation, a transgressive masquerade that belongs to social emulation and that can be unmasked by a “test of truth,” derived from the third earl of Shaftesbury’s Characteristicks. (SM)