By Stephen Arata, Madigan Haley, J. Paul Hunter, Jennifer Wicke
"Explores the background, evolution, genres, and narrative parts of the English novel, whereas chronicling its improvement from the early 18th century to the current day"--
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Extra info for A Companion to the English Novel
Recognizing and exposing corruption change nothing at all. Endless negotiation succeeds Pamela’s fairy‐tale marriage; her husband proves imperfect. Roderick Random and Fanny Hill offer fantasy resolutions. David Simple’s idyllic community will not survive. Shamela’s marriage resolves nothing, and one suspects that the same is true of Syrena’s banishment. The happy ending of Clarissa entails the deaths of its central characters. Experience may provide sufficient foundation for living, but it does not solve the problems it exposes.
London: Penguin. Vermeule, Blakey. 2010. Why Do We Care About Literary Characters? Baltimore: Johns Hopkins University Press. Watt, Ian. 1957. The Rise of the Novel: Studies in Defoe, Richardson, and Fielding. Berkeley and Los Angeles: University of California Press. 2 The 1790s Lynn Festa Politics and art, like forms of knowledge, construct “fictions,” that is to say material rearrangements of signs and images, relationships between what is seen and what is said, between what is done and what can be done.
We witness, so to speak, a tense shift in the mimetic in which the literary copy becomes the imitation of something not yet in being. As the philosopher Mary Wollstonecraft argued in her The 1790s 21 Vindication of the Rights of Woman (1792), Rousseau shows that in the state of nature “all was right originally: a crowd of authors that all is now right; and I, that all will be right” (2004, 23). Under these circumstances, the novel not only represents a state of affairs mimetically, but also envisions counterfactual (utopian/dystopian) possibilities: both things as they are and things as they might be.