Samuel Richardson

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.

(Dissertação de Mestrado defendida em 2012, Universidade de São Paulo)
  A análise desenvolvida no presente trabalho lida com o peculiar acesso do jovem Goethe à questão da subjetividade enquanto uma problemática que, em tempos modernos, traz todo um conjunto de dilemas e contradições em si. O tratamento da participação do autor no discurso moderno da subjetividade se dá, primeiramente, por meio da identificação de sua apropriação crítica de códigos culturais que lhe foram contemporâneos (como o pietismo e o Sentimentalismo), e, em um segundo momento, pela análise detida de seus dois romances do Sturm und Drang.
A presente análise confronta, sobretudo, certas categorias tradicionalmente empregadas pela historiografia literária com o fim de generalizar um único modelo antropológico que autores do Sturm und Drang supostamente compartilharam — isto é, o modelo do “gênio” e do indivíduo autônomo. Não apenas Goethe não compartilharia o mesmo entusiasmo de seus contemporâneos pelo individualismo enquanto valor em si, como também seus dois retratos romanescos da questão sugerem a crença moderna no sujeito como uma entidade potencialmente autodefinidora é insuficiente, permeada por pressuposições metafísicas enganadoras que poderia e deveriam ser reconsideradas. O famoso caso trágico de Werther, o indivíduo titânico para o qual não há lugar possível no mundo, é exemplar de tal insuficiência, e o fato de que Goethe continua a lidar com a imagem do ser à procura de valores intrínsecos no romance seguinte, Wilhelm Meisters theatralische Sendung, é tomado como prolongamento de sua participação no corrente discurso filosófico da subjetividade do final do século XVIII. Estes romances são aqui tomados, assim, como dois momentos distintos — ainda que de certa forma complementares, ou ao menos coerentes em relação um ao outro — do acesso do autor à problemática.

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.

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

Abstract in italiano: questo saggio esplora i nessi intertestuali e i diversi paradigmi epistolari a cui rispondono tre capolavori della letteratura europea del Settecento e del primo Ottocento. La Nouvelle Héloïse vi è studiata sia come riscrittura sei-settecentesca della corrispondenza di Abelardo e Eloisa sia nel suo complesso rapporto con Clarissa di Richardson. Del Werther è soprattutto sottolineato l'atteggiamento contraddittorio di Goethe nei confronti del pubblico a cui si rivolge. Lo studio delle Ultime lettere di Jacopo Ortis rivela un sorprendente ritorno a un modello epistolografico analogo a quello di Clarissa, nonostante il contesto storico-politico completamente diverso.

Abstract en Français: Cette étude explore les liens intertextuels et les différents paradigmes épistolaires représentés par trois chefs d'oeuvres de la littérature européenne du XVIIIe et du début du XIXe siècle. La Nouvelle Héloïse y est étudiée en tant que réécriture de la correspondance entre Abélard et Héloïse au XVIIe et au XVIIIe siècle, ainsi que dans ses relations très complexes avec Clarissa de Richardson. A propos du Werther, l'accent est surtout mis sur l'attitude contradictoire de Goethe vis-à-vis du public auquel il s'adresse, à l'intérieur du roman et selon les déclarations que nous lisons dans Poésie et vérité.  L'étude des Ultime lettere di Jacopo Ortis révèle un retour surprenant à un paradigme épistolographique comparable à celui di Clarissa, en dépit d'un contexte historique et politique très différent.

Abstract in English: In this paper on the epistolary paradigms of three masterpieces of 18th century Europen literature, the stress is placed on the influence of Richardson's Clarissa on both Rousseau's Nouvelle Héloïse and Foscolo's Ultime lettere di Jacopo Ortis

Reconstruction of the dream theory of the Enlightenment, with a discussion of literary dreams in Richardson's "Clarissa", Rousseau's "Nouvelle Héloïse", Wieland's "Geschichte des Agathon", and Goethe's "Werther". A case study for the relation between knowledge in science and literature.

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...

A ghost is haunting the eighteenth-century novel – the ghost of Lucretia, the chaste Roman matron who killed herself after being raped by Tarquinius and whose death ushered in the birth of the Roman Republic. With the rise of the epistolary novel in the eighteenth century, many great writers entered the scene to re-write the story of Lucretia, and new Lucretia stories emerged – among which Clarissa (1748) by the English novelist Samuel Richardson and Julie (1761) by the Genevan philosopher and writer Jean-Jacques Rousseau are two great examples. Both novels are attempts to rehabilitate the virtue of a supposedly “fallen” woman: despite their “tarnished virtue,” the heroines Clarissa and Julie both provide new models for feminine virtue and female heroism. However, the question remains: under what value system are Clarissa and Julie deemed as “fallen” women, and who is it to determine whether they are “fallen” or not? In this project, I will show how Clarissa and Julie are not only physically seduced by men but also ideologically seduced by an aristocratic patriarchy that is perpetuated not just by men but also by women – and whether these young ladies have the free will to consent or not consent to this multi-layered seduction.

Contribution à une histoire de la réception littéraire européenne de "La nouvelle Héloïse": l'influence de la "Nouvelle Héloïse" sur "Ultime lettere di Jacopo Ortis"

Contributo a una storia della ricezione letteraria europea della "Nouvelle Héloïse". Linfluenza della "Nouvelle Héloïse" sulle "Ultime lettere di Jacopo Ortis"

Tax is one of the income received by the government and is obtained from the community that is used for the development of a country. Tax for a company is one of the burdens that can reduce the level of income and profits of a company. Therefore the company takes an action that is tax aggressiveness. Companies that carry out tax aggressiveness can minimize this by making social disclosures.
This study aims to examine the effect of tax aggressiveness on disclosure of corporate social responsibility. The independent variables used in this study are tax aggressiveness with Effective Tax Rate(ETR), Book-Tax Difference(BTD), and Cash Effective Tax Rate (CETR) proxy. The dependent variable in this study is Corporate Social Responsibility (CSR).
This research was conducted on manufacturing companies listed on the Indonesia Stock Exchange in 2015-2018, using multiple regression analysis and sensitivity analysis testing. The sampling technique is done through purposive sampling. The number of sample companies was 38 companies with 152 observations.
The results showed that tax aggressiveness with ETR proxies affected CSR where the results of the study obtained a significance of 0.31 <0.05. While the tax aggressiveness with the BTD proxy does not also affect CSR where the research results obtained significance of greater than 0.205> 0.05. While the tax aggressiveness with the CETR proxy affects CSR, with a significance of 0.00 <0.05. Other findings in this study reveal that companies that carry out tax aggressiveness tend to disclose broader social responsibilities to get positive support from the community and the environment to maintain their existence.
Keywords: Tax Aggressiveness, Corporate Social Responsibility, Sensitivity Analysis.

THE ENGLISH CLOSET took on many new shapes and functions as it proliferated in the long eighteenth century. It had origins in sixteenth-century palace apartments designed in enfilade: the lockable room at the end of a series of adjoining chambers had been crucial to the performance and consolidation of absolute power in the Tudor and early Stuart courts. In these secluded places, kings and queens could store valuables and special documents, read, write, or pray alone, and exchange confidences with their most trusted courtiers. Yet closets proved remarkably resilient over the next two centuries, even as power drifted away from the court. In the houses of people of quality and, increasingly, those of the middling sort, private rooms served as prayer closets, cabinets of curiosity, dressing rooms, libraries, art galleries, and impromptu bedrooms; and merging with the bath or privy, closets were transformed into bathing closets, closets of ease, outdoor privies known as earth closets and, eventually, water closets. While multiplying and morphing in material culture, these intimate spaces also made significant appearances in all kinds of writing. The closet was, for example, a metaphor for the space of the mind in empirical philosophy, a symbol of female vanity in satirical poetry, and a setting for introspection, sexual intrigue, and letter writing in fiction. Along with its close cousin, the cabinet, the closet also gave a name and an implicit structure to hundreds of miscellanies or anthologies in eighteenth-century England, from how-to books like The Golden Cabinet of Useful Knowledge to recipe and remedy books like The Queen-Like Closet. Eighteenth-Century Literature and the Culture of the Closet is a course that I developed to explore the functional, narrative, and symbolic roles closets played in eighteenth-century life and literature. Focusing on discourses and practices of the closet especially helps to illuminate the changing parameters of privacy in the period and the centrality of this category to concurrent developments in politics, religion,

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.

Revisiting Richardson's _Pamela_ as a site of "spatial formalism," this essay maintains that the notion of the domestic interior as a setting conducive to psychological interiority requires further materialist analysis.  The interiority of _Pamela_ hinges less on characters' emotions than on its ability to move between different spatial interiors, from the of-cited interiors of domestic architecture to the interiors of spaces that initially register as objects, such as women's detachable pockets as well as books and letters.  Ultimately, Pamela lays claim to her selfhood through effecting a dynamic whereby her movable possessions--her letters and her pockets in particular--become spatial territories of the self that challenge the authority of land ownership conferred to her social superiors.  She effects, in other words, a shift in social relations as defined by property as well as by marriage through her ability to transform the interiority afforded by her everyday possessions into a movable estate of the self.

Resumen Este artículo analiza la manera en la cual la novela inglesa Fanny Hill (1748) de John Cleland sintetiza el idealismo cervantino, propio de la novela sentimental, y el rea-lismo, heredero de la picaresca femenina. Al situar esta obra en la gesta de la nove-la dieciochesca inglesa, especialmente frente a las obras de Samuel Richardson y en constante diálogo con el legado picaresco y cervantino, Fanny Hill emerge como una novela compleja, metaficticia y reflexiva. En su reflexividad, Cleland se enfo-ca en analizar los mecanismos de la novela en general y de la novela pornográfica en particular. Los mecanismos que se destacan son la reflexión sobre el ejercicio literario, el registro lingüístico y la recepción. Sobre todo, Fanny-como "narra-dora"-se detiene a analizar con detalle el savoir faire de la novela pornográfica en la cual el tema central del sexo, en cuanto mecánico y repetitivo, exige una narra-tiva mecánica y repetitiva. Finalmente, el artículo destaca la complicada agencia simbólica, literaria, económica y de género, que despliega la "narradora" Fanny

Chapter 4 of Affect Theory and Literary Critical Practice, Edited by Stephen Ahern (2019)

This chapter paves the way for re-reading the rise of the novel by discerning resonances of contemporary affect theory within eighteenth-century discourses of sensibility. Such resonances, the chapter argues, indicate a need to renegotiate the early novel’s relationship to both empiricist epistemology and the formal realism that is supposed to be its aesthetic doppelganger. Close readings of Richardson’s Pamela (1740) and Austen’s Emma (1813) exemplify early attempts to articulate the virtuality of emotional experience in the present tense and provide a critical lens for interpreting key features of the novel’s aesthetic—epistolary narration and free indirect discourse. In this way affect functions not only as the thematic focus of sentimental fiction but also as a theoretical problematic that catalyzed formal developments of the genre.

The article aims to provide an overview of Samuel Richardson’s social networks, with a special focus on the stylistic features of epistolary exchanges between the novelist and other members of his circles. In the light of the social network theory, which investi-gates linguistic variations and changes influenced by discourse communities, the present research paper mainly concerns aspects related to register, and investigates the influence of Richardson’s ‘dramatic style’ upon the members of his epistolary networks, as well as the interpersonal involvement strategies he deploys with regard to the addressee and his/her discourse

Spanish abstract: Comentamos aquí sobre la integración de algunos aspectos éticos, estéticos, psicológicos y narrativos en la novela epistolar ´Clarissa, or the History of a Young Lady´ de Samuel Richardson (1747-48), en concreto la encarnación de un ideal ético-estético en el personaje de Clarissa, y la elección consciente de una técnica narrativa que va unida en esta obra a un efecto de autogénesis.

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English abstract: This paper deals with the integration of a number of ethical, aesthetic, psychological and narrative issues in Samuel Richardson's epistolary novel 'Clarissa, or the History of a Young Lady' (1747-48), and more specifically with the incarnation of an ethical-aesthetic ideal in the character of Clarissa, and the deliberate choice of a narrative technique associated to a self-begetting dimension in this work.

Toute l’œuvre de Richardson repose sur la valeur de l’exemple, objet de méditation et d’imitation pour ses lecteurs, et à l’évidence chrétienne selon laquelle l’expiation des péchés épure l’âme et rend possible son admission dans le sein de Dieu. Richardson facilite le jugement de ses lecteurs avec ces deux exemples qui oscillent continuellement entre des limites extrêmes : La relation amoureuse entre Clarissa et Lovelace fondée sur des passions et des idées opposées—l’amour vertueux de Clarissa et l’amour sensuel de Lovelace— n’a aucune possibilité d’existence. Lovelace qui représente Satan n’a pu transmettre à Clarissa ses passions perverses ; l’âme de Clarissa n’est pas contaminée.  Au contraire, elle noue des liens plus solides avec Dieu ; elle choisit la voie de sa justice divine par le sacrifice en imitant le Christ dont les effets seront aussi étendus qu’espérait Lovelace dans sa vengeance. Fidèle à ses principes, Clarissa châtie ce corps qui, organiquement, n’a pu résister à la souillure. En refusant de voir Lovelace, le Satan, elle repousse définitivement le démon qui l’a trahi et l’a entraînée dans le péché : il ne la verra plus, même morte. Miss Howe fait observer à Clarissa: « Your story will afford a warning as well as an example » (1315).

This book is about Roger Williams (ca. 1603-83), who was banished from the colony of Massachusetts Bay for advocating freedom of conscience, separation of church and state, Native American rights, and related matters.  He founded the town of Providence in what became Rhode Island on the basis of full liberty of conscience and complete separation of religion and government.  For additional information, see the uploaded PDF and links.

The book is available in paperback and Kindle e-book editions at Amazon websites throughout the world.  The paperback is also available at some other websites and bookstores.

See also my YouTube channel (https://www.youtube.com/channel/UCOlUZaehYk7WmwW8v9oBMzQ) about Roger Williams, including an interview (https://youtu.be/mGRl5lIbdYY) with me about this book.

For Errata and Supplemental Comments, see the separate document uploaded at https://www.academia.edu/13798228/Errata_and_Supplemental_Comments_to_The_First_American_Founder_Roger_Williams_and_Freedom_of_Conscience.

Alan E. Johnson

The essay analyses the dramaturgical aspects of Goldoni's libretto for Cecchina by Niccolò Piccinni. In this paper, different theatrical, narrative and pictorial sources are compared to investigate the social implications and the huge success of this Enlightenment masterpiece.

(Estação Literária, Londrina, v. 27, p. 141-161, jan./jun. 2021).
Este artigo trata dos usos da paródia em Justine, ou Les malheurs de la vertu de Donatien Alphonse François de Sade para fins de crítica da cosmovisão cristã e do romance sentimental de Samuel Richardson. Partimos de um breve tratamento da inovação formal trazida por Pamela, or Virtue rewarded de Richardson à cultura do romance, analisando como Sade frustra as expectativas de suas leitoras e leitores históricos. Por fim, resgatamos considerações de Georges Bataille e Pierre Klossowski acerca da singularidade do marquês de Sade no contexto filosófico do Iluminismo tardio, refletindo em que medida esse contraventor de gêneros e doutrinas pode ser pensado como uma figura de peso dentro da tradição do romance moderno.