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Modern Romance examines the relationship between the revival of romance form and the ascendancy of the novel in British literary culture, from 1760 to 1850. The revival of romance as the literary embodiment of a national cultural identity provided a metaphor for the 'authenticity' of the novel itself, set against the changing formations of modern life. The material conditions, cultural status and formal repertoire of prose fiction were given a canonical transformation, leading to the form's nineteenth-century heyday, in Scott's Waverley novels. Ian Duncan's illuminating and innovative study begins with the first identification of modern prose fiction with romance form in the late eighteenth-century Gothic novel, and moves through Scott's highly influential dialectical blend of romance and history, to his relations with his successor in the role of national author, Charles Dickens.
From the fourteenth-century Sir Gawain and the Green Knight to In Parenthesis – an epic poem written in 1937 by painter and poet David Jones – English writers have looked to romance as a resource and a strategy to expand the imaginary reach of their writing. Rethinking the resilience, purpose, and place of romance in English literature, Timely Voices discusses moments that have altered how we read and interpret this ever-changing form. Addressing the various ways in which romance has absorbed and been absorbed by drama, prose, and poetry, contributors to this volume demonstrate that romance texts do not produce something defined or confined by a static genre, but rather express a repository of creative possibilities. Covering writers including the anonymous author of Sir Orfeo, Jane Austen, Geoffrey of Monmouth, Lucy Hutchinson, William Morris, Philip Sidney, William Shakespeare, and Edmund Spenser, essays explore the magic and wonder of romance, Irish and Gaelic lore, how woodcuts in early books complement and extend printed text, how romance was dramatized, how it gives language to feminist politics and ideology, and how it becomes a counterpoint to finance in the fiction of the early Romantic period. A nuanced reinterpretation of romance in its own terms, Timely Voices inspires new appreciation of this form as a solution to textual, aesthetic, structural, ideological, and political problems in literature.
Romances date back to the creation of stories. Although the definition of the genre has changed in time from the Ancient Greeks to the Bildungsromans,to the 19th century and today’s courtship novels, both scholarship and widely-held attitudes towards romance has remained fixedly and prioritized only the universality, unoriginality, and continuity of romance fiction instead of its sociocultural effect of promoting positive ideals like female empowerment. The portrayal of women in social roles has been in a state of constant change including their relationship with and relation to men. This book explores only medieval historical romance fictions and their changes through the course of the time. I examine three medieval romances’ content—Walter Scott’s Ivanhoe (1920), Kathleen Woodowiss’ The Wolf and the Dove (1974), and Amanda Quick’s Mystique (1995)-- written in different time periods based on content analysis using Anthony Giddens’s (1992) theories of intimacy. In addition, it will address romance novels’ views about sex, gender and love roles.
The field of literature changed dramatically at the end of the eighteenth century, as under the shadow of Romanticism the novel became the most important literary genre of its day. Often neglected, the novels of the Romantic era puzzle critics yet are much more concerned with the unexpected, the unconventional, and the uncanny than their immediate predecessors or successors, and their authors include some of the most important novelists of British literary history—Jane Austen, Fanny Burney, James Hogg, Mary Shelley, and Sir Walter Scott among them. Featuring contributions from distinguished scholars in the field, Recognizing the Romantic Novel evaluates the vibrancy and centrality of the Romantic novel, showcasing the important new voices and directions in the field and showing it can hold its own in the canon of literary scholarship. “These essays offer us a lens through which we may recognize the Romantic novel as it has never been recognized before.”—Times Literary Supplement
Romancing the Novel examines the ways in which romance forms characteristic of boys' books - as exemplified in the novels of Scott, Dumas, Verne, and Stevenson - influence narratives not generally put in the same category - both psychoanalytical accounts of the psyche and novels by authors as diverse as George Eliot, Ursual Le Guin, Joseph Conrad, and W. G. Sebald. Adventure has been most recently studied largely as a symptom of imperialism's ideological apparatus. But as an intensely familiar story available from the earliest reading, adventure conditions the narratable - its influence is felt from the nursery bed to the analyst's couch. By reading Maurice Sendak with Melanie Klein and Peter Rabbit with Daniel Deronda, Romancing the Novel argues that the power and depth of the generic constraints of the adventure form have not been recognized simply because they are so ubiquitous. Adventure fiction is not merely summer reading whose ephemeral effects dissipate, but rather a pervasive code that exerts powerful effects on the imaginable.
Much has been written about the Victorian novel, and for good reason. The cultural power it exerted (and, to some extent, still exerts) is beyond question. The Oxford Handbook of the Victorian Novel contributes substantially to this thriving scholarly field by offering new approaches to familiar topics (the novel and science, the Victorian Bildungroman) as well as essays on topics often overlooked (the novel and classics, the novel and the OED, the novel, and allusion). Manifesting the increasing interdisciplinarity of Victorian studies, its essays situate the novel within a complex network of relations (among, for instance, readers, editors, reviewers, and the novelists themselves; or among different cultural pressures - the religious, the commercial, the legal). The handbook's essays also build on recent bibliographic work of remarkable scope and detail, responding to the growing attention to print culture. With a detailed introduction and 36 newly commissioned chapters by leading and emerging scholars — beginning with Peter Garside's examination of the early nineteenth-century novel and ending with two essays proposing the 'last Victorian novel' — the handbook attends to the major themes in Victorian scholarship while at the same time creating new possibilities for further research. Balancing breadth and depth, the clearly-written, nonjargon -laden essays provide readers with overviews as well as original scholarship, an approach which will serve advanced undergraduates, graduate students, and established scholars. As the Victorians get further away from us, our versions of their culture and its novel inevitably change; this Handbook offers fresh explorations of the novel that teach us about this genre, its culture, and, by extension, our own.
In this broad ranging study, Gretchen Woertendyke reconfigures US literary history as a product of hemispheric relations. Hemispheric Regionalism: Romance and the Geography of Genre, brings together a rich archive of popular culture, fugitive slave narratives, advertisements, political treatises, and literature to construct a new literary history from a hemispheric and regional perspective. At the center of this history is romance, a popular and versatile literary genre uniquely capable of translating the threat posed by the Haitian Revolution--or the expansionist possibilities of Cuban annexation--for a rapidly increasing readership. Through romance, she traces imaginary and real circuits of exchange and remaps romance's position in nineteenth century life and letters as irreducible to, nor fully mediated by, a concept of nation. The energies associated with Cuba and Haiti, manifest destiny and apocalypse, bring historical depth to an otherwise short national history. As a result, romance becomes remarkably influential in inculcating a sense of new world citizenry. The study shifts our critical focus from novel and nation, to romance and region, inevitable, she argues, when we attend to the tangled, messy relations across geographic and historical boundaries. Woertendyke reads the archives of Gabriel Prosser, Nat Turner, and Denmark Vesey along with less frequently treated writers such as John Howison, William Gilmore Simms, and J.H. Ingraham. The study provides a new context for understanding works by Washington Irving, Edgar Allan Poe, Herman Melville, and James Fenimore Cooper and brings together the theories of Charles Brockden Brown, the editorial work of Maturin M. Ballou, and the historical romances of Walter Scott. In Hemispheric Regionalism, Woertendyke demonstrates that US literature has always been the product of hemispheric and regional relations and that all forms of romance are central to this history.
Reprint. Originally published: Princeton, New Jersey: Princeton University Press, A 2013.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. The gothic novel in Ireland, c. 1760–1829 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Countering traditional scholarly views of the ‘rise’ of ‘the gothic novel’ on the one hand, and, on the other, Irish Romantic literature, this study persuasively re-integrates a body of now overlooked works into the history of the literary gothic as it emerged across Ireland, Britain, and Europe between 1760 and 1829. Its twinned quantitative and qualitative analysis of neglected Irish texts produces a new formal, generic, and ideological map of gothic literary production in this period, persuasively positioning Irish works and authors at the centre of a new critical paradigm with which to understand both Irish Romantic and gothic literary production.
Beginning with the premise that the portrait was undergoing a shift in both form and function during the Romantic age, Joe Bray examines how these changes are reflected in the fiction of writers such as Maria Edgeworth, Jane Austen, Sir Walter Scott, Elizabeth Hamilton and Amelia Opie. Bray considers portraiture in a broad sense as encompassing caricature and the miniature, as well as the classic portraits of Sir Joshua Reynolds and others. He argues that the portrait in fiction often functions not as a transparent index to character or as a means of producing a straightforward likeness, but rather as a cue for misreading and a sign of the slipperiness and subjectivity of interpretation. The book is concerned with more than simply the appearance of portraits in Romantic fiction, however. More broadly, The Portrait in Fiction of the Romantic Period investigates how the language of portraiture pervades the novel in this period and how the two art forms exert mutual stylistic influence on each other.