Download Free Samuel Richardson Book in PDF and EPUB Free Download. You can read online Samuel Richardson and write the review.

Samuel Richardson (1689-1761), the English writer and printer best known for his epistolary novels, including Pamela (1740) and Clarissa (1748), had preserved copies of his extensive correspondence with a view to its eventual publication, and these volumes, edited by Anna Laetitia Barbauld and first published in 1804, contain her selection from his papers. Richardson became a printer's apprentice in 1706 and for the rest of his life managed a successful printing business in addition to writing his highly popular and influential novels ...
In developing a new gender theory for analyzing Samuel Richardson's three major novels - Pamela, Clarissa, and Sir Charles Grandison - the author argues that these novels of sexual threat expose, sometimes unwillingly, the extraordinary labor required to construct and maintain the eighteenth-century ideology of gender, that apparently natural dream of perfect symmetry between the sexes. The instability of that model is revealed notably in Richardson's fascination with cross-gender identification and other instances of transgressive desires. The author demonstrates that these violations of the supposedly unbreachable barriers between masculinity and femininity produce what is most moving and imaginative in Richardson's fiction and create an equally powerful repression in the form of punishment of transgressive characters and desires. She also illustrates, through a reading of recurrent fantasies about the composition of bodies - especially women's bodies - the complex interaction between those fantasies and the construction of masculinity and femininity. The genesis of Richardson's own writing is located in a dynamic, reciprocal idea of gender that allows him to see femininity from the inside while retaining the privileges of the masculine viewpoint; the relation between this origin and the novels themselves forms the basis for the discussions of the novels. Each of the three chapters in the book seeks to investigate particular turn of gender construction and a particular mode of the reiterative story of sexual differences. The first chapter, on Pamela, calls on eighteenth-century discourse about opposing ideologies of gender and sexuality to elucidate Richardson's project. The next chapter, on Clarissa, shifts to a more intricate analysis of fantasies about sex and gender, in particular the double reading of masculinity and femininity in the form of of masculinity reading itself through the feminine. The final chapter, on The History of Sir Charles Grandison, examines Richardson's attempt to solidify masculinity in the person of the "good man."
Can two broken boys find their perfect home? By turns heartbreaking and heartwarming, this is a gorgeously told, powerful story. Sam is only fifteen but he and his autistic older brother, Avery, have been abandoned by every relative he's ever known. Now Sam's trying to build a new life for them. He survives by breaking into empty houses when their owners are away, until one day he's caught out when a family returns home. To his amazement this large, chaotic family takes him under their wing - each teenager assuming Sam is a friend of another sibling. Sam finds himself inextricably caught up in their life, and falling for the beautiful Moxie. But Sam has a secret, and his past is about to catch up with him. Heartfelt storytelling, perfect for fans of Jandy Nelson and Jennifer Niven.
Samuel Richardson, the founder of the modern English novel, gave shape to a previously unformed literary genre. Instrumental in the development of this new art form, Ira Konigsberg contends, is the influence of the drama. Although scholars have long suspected the influence of drama on Richardson's writing, this is the first study to examine it in detail. In such matters as material, technique, and structure, Konigsberg seeks to show that Richardson found his precedents in Restoration and early eighteenth-century drama and that it was his integration of these dramatic elements with fiction which caused the mutation in genre that is responsible for the subsequent course of the English novel.