An erudite, intelligent and imaginative work of literary scholarship. With vivacity, grace, and wit, Doody traces the history (of the novel) from the ancient novels of Apuleium and Heliodorus through the Renaissance fictions of Boccaccio, Cervantes, and Rabelais to the 'official' birth of the novel in 18th-century England".--BOSTON GLOBE. 39 illustrations.
An erudite, intelligent and imaginative work of literary scholarship. With vivacity, grace, and wit, Doody traces the history (of the novel) from the ancient novels of Apuleium and Heliodorus through the Renaissance fictions of Boccaccio, Cervantes, and Rabelais to the 'official' birth of the novel in 18th-century England".--BOSTON GLOBE. 39 illustrations.
Treating Frances Burney (1752-1840) with the seriousness usually reserved for later novelists of the nineteenth and twentieth centuries, Margaret Anne Doody combines biographical narrative with informed literary criticism as she analyzes not only Burney's published novels, but her plays, fragments of novels, poems, and other works never published. Doody also draws upon a mine of letters and diaries for detailed and sometimes surprising biographical information. Burney's feelings and emotions forcefully emerge in her sophisticated and complex late novels, Camilla and The Wanderer. Her novels all relate to personal experience; as an artist she is attracted to the violent, the grotesque, and the macabre. She is a powerful comic writer, but her comedy is far from reflecting a shallow cheerfulness. Bringing a novelist's perspective to her material, in this 1989 book Doody shows an appreciation of the many dimensions of a predecessor's writings and she tells her story with force and conviction.
This three-volume set brings together all that Samuel Richardson himself published on the composition, printing and interpretation of "Clarissa". The various short works reveal Richardson's reactions to the concerns and issues raised by contemporary readers.
The Daring Muse is a challenging account of the richness and complexity of Augustan poetry. It takes in a broad range of writers from the Restoration to the Regency, from Rochester and Dryden to Cowper and Crabbe, and shows the essential connections between them. Augustan poetry has too often been thought of as uniform, staidly classical, even dull. Margaret Doody explodes this myth once and for all. She shows it to be poetry of great energy and diversity: of extravagant conceits, subversive parody, incessant stylistic and formal experimentation; a self-consciously innovative poetry that sought to express and extend the perpetual, restless activity of the human mind. Both the principles and techniques of the verse are related to similar elements in the novels of the period; the book's numerous illustrations help to show how the poems were presented and interpreted in their own time.
This three-volume set brings together all that Samuel Richardson himself published on the composition, printing and interpretation of "Clarissa". The various short works reveal Richardson's reactions to the concerns and issues raised by contemporary readers.
This study undertakes a new definition of the 18th-century novel's investment in visual culture, tracing the relationship between the development of the novel and that of the portrait, particularly as represented in the novel itself.
This three-volume set brings together all that Samuel Richardson himself published on the composition, printing and interpretation of "Clarissa". The various short works reveal Richardson's reactions to the concerns and issues raised by contemporary readers.
The great philosopher and his student face pirates, political intrigue, and more in this dark, suspenseful mystery set in ancient Athens. Tensions between the Athenians and the Makedonians—whose leader, Alexander the Great, is one of Aristotle’s former students—draw the philosopher across the Aegean Sea, accompanied by the devoted Stephanos. Both will have much to learn about survival as they find themselves beset by pirates, uncovering conspiracy, and facing the horrors of war. It will be up to Aristotle to try to shed light on the darkness they are about to encounter—in this novel in the historical series praised as “unusually authentic” (Kirkus Reviews) and “eminently enjoyable” (Colin Dexter, author of the Inspector Morse Mysteries). Also published as Aristotle and the Mystery of Life
After the restoration of the English monarchy in 1660, Protestants worried that King Charles II might favour religious freedom for Roman Catholics, and many suspected that the king was unduly influenced by his Catholic mistresses. Nell Gwyn, actress and royal mistress, stood apart by virtue of her Protestant loyalty. In 1681, Gwyn, her carriage surrounded by an angry anti-Catholic mob, famously declared 'I am the protestant whore.' Her self-branding invites an investigation into the alignment between sex and politics during this period, and in this study, Alison Conway relates courtesan narrative to cultural and religious anxieties. In new readings of canonical works by Aphra Behn, Daniel Defoe, Henry Fielding, and Samuel Richardson, Conway argues that authors engaged the same questions about identity, nation, authority, literature, and politics as those pursued by Restoration polemicists. Her study reveals the recurring connection between sexual impropriety and religious heterodoxy in Restoration thought, and Nell Gwyn, writ large as the nation's Protestant Whore, is shown to be a significant figure of sexual, political, and religious controversy.
In the winter of 330-329 BC Athens itself suffers a series of alarming thefts and home robberies. It seems that nobody is safe. The great philosopher Aristotle helps his former student Stephanos investigate a break- in and brutal murder at the house of one of his Athenian neighbours. The man fingered for the crime turns against Stephanos just as he is planning his marriage. It is difficult to arrange a big fat Greek wedding when someone seems to be trying to kill you. Elsewhere bodies begin to pile up--who will be bludgeoned or stabbed or strangled next? Stephanos' bride is Philomela. Her parental home is Eleusis, famous for the Sanctuary of Demeter and Persephone, home of the sacred site of the Mysteries of Eleusis. Religious initiation is open to all adult Greek speakers, slave and free, with the exception of anyone guilty of homicide. Stephanos, Philomela and Aristotle undertake mystic initiation in a complex ritual whose ultimate secrets cannot be spoken, on pain of death. Eleusis conceals many secrets, and revelation of the truth must await the night of the Mystery celebration itself. This is the fifth novel featuring Aristotle as the first detective of the ancient world, following Aristotle Detective, Aristotle and Poetic Justice, The Secrets of Life and Poison In Athens.
Eleven authors are included in this final part of Volume III of the Index, beginning with Laurence Sterne and concluding with Edward Young. It also includes the final cumulative first-line index of all the verse which is described in the manuscript entries or mentioned in the Introductions in Parts 1-4 of Volume III.
The notion of an infernal place of punishment for 'undesired' elements in human culture and human nature has a long history both as religious idea and as cultural metaphor. This book brings together a wide array of scholars who examine hell as an idea within the Christian tradition and its 'afterlife' in historical and contemporary imagination. Leading scholars grapple with the construction and meaning of hell in the past and investigate its modern utility as a means to describe what is perceived as horrific or undesirable in modern culture. While the idea of an infernal region of punishment was largely developed in the context of early Jewish and Christian religious culture, it remains a central belief for some Christians in the modern world. Hell's reception (its 'afterlife') in the modern world has extended hell's meaning beyond the religious realm; hell has become a pervasive image and metaphor in political rhetoric, in popular culture, and in the media. Bringing together scholars from a variety of fields to contribute to a wider understanding of this fascinating and important cultural idea, this book will appeal to readers from historical, religious, literary and cultural perspectives.
Treating Frances Burney (1752-1840) with the seriousness usually reserved for later novelists of the nineteenth and twentieth centuries, Margaret Anne Doody combines biographical narrative with informed literary criticism as she analyzes not only Burney's published novels, but her plays, fragments of novels, poems, and other works never published. Doody also draws upon a mine of letters and diaries for detailed and sometimes surprising biographical information. Burney's feelings and emotions forcefully emerge in her sophisticated and complex late novels, Camilla and The Wanderer. Her novels all relate to personal experience; as an artist she is attracted to the violent, the grotesque, and the macabre. She is a powerful comic writer, but her comedy is far from reflecting a shallow cheerfulness. Bringing a novelist's perspective to her material, in this 1989 book Doody shows an appreciation of the many dimensions of a predecessor's writings and she tells her story with force and conviction.
The Daring Muse is a challenging account of the richness and complexity of Augustan poetry. It takes in a broad range of writers from the Restoration to the Regency, from Rochester and Dryden to Cowper and Crabbe, and shows the essential connections between them. Augustan poetry has too often been thought of as uniform, staidly classical, even dull. Margaret Doody explodes this myth once and for all. She shows it to be poetry of great energy and diversity: of extravagant conceits, subversive parody, incessant stylistic and formal experimentation; a self-consciously innovative poetry that sought to express and extend the perpetual, restless activity of the human mind. Both the principles and techniques of the verse are related to similar elements in the novels of the period; the book's numerous illustrations help to show how the poems were presented and interpreted in their own time.
Jane Austen took a particular delight in the resonance of names, and in her novels she used the names of people and places as a potential source of meaning, satirical or historical. Margaret Doody s book is a learned and enjoyable investigation of this aspect of Austen s art. Doody tells us that Austen preferred first names in common and traditional English use, though these sometimes acquire a subtly new flavor in her works. Austen also favored the names of saints and of royalty, but she did use some classically derived pagan names, always with a purpose. And Austen would signal political loyalties and allegiances in her novels through the use of names, both first names and last names, as well as place names. In exploring Austen s names and their connotations, Doody has a larger point to make. By uncovering the riddling and punning in Austen s names, as well as Austen s interest in history, Doody casts Austen as a decidedly earthy writer steeped in the particulars of place and time, rather than a timeless novelist writing in an abstemious style. From this attention to names in her work emerges a picture of Austen that is both fuller than we ve had before, and controversial.
This three-volume set brings together all that Samuel Richardson himself published on the composition, printing and interpretation of "Clarissa". The various short works reveal Richardson's reactions to the concerns and issues raised by contemporary readers.
A series of thefts (some comic, some sinister) puzzles Athens early in 329 BC. Stephanos has become publicly betrothed to Smikrenes' daughter in the autumn of 330, and the couple wed in Gamelion. Meanwhile, Aristotle has settled down into a sexual relationship with the slave Herpyllis. Stephanos is getting his life in order and he tries to establish his political position as an Athenian by giving a dinner party. However, the happiness of his marriage is hampered by some vexations lawsuits: one from a neighbour of his in-laws in the Hymettos property, another from the father of the girl he was once supposed to marry. Connection with Smikrenes, whose land his own child or male children will inherit, causes Stephanos to take more interest in Eleusis. The series of thefts seem to have some connection with a little shop that makes statuettes of Demeter and Kore. Stephanos and Philomela decide to become initiates of Demeter and Aristotle is persuaded to join them. Their connection with the Mysteries allows them the chance to observe some phenomena that don't add up. In the end they are able to pin some important thefts and a murder to personages closely connected with the Mysteries. The climax comes in September 329 BC, during the celebration of the Mysteries at Eleusis.
Pray, pray be composed," cried Elinor, "and do not betray what you feel to every body present. Perhaps he has not observed you yet." For Elinor Dashwood, sensible and sensitive, and her romantic, impetuous younger sister Marianne, the prospect of marrying the men they love appears remote. In a world ruled by money and self-interest, the Dashwood sisters have neither fortune nor connections. Concerned for others and for social proprieties, Elinor is ill-equipped to compete with self-centred fortune-hunters like Lucy Steele, whilst Marianne's unswerving belief in the truth of her own feelings makes her more dangerously susceptible to the designs of unscrupulous men. Through her heroines' parallel experiences of love, loss, and hope, Jane Austen offers a powerful analysis of the ways in which women's lives were shaped by the claustrophobic society in which they had to survive. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Cecilia is an heiress, but she can only keep her fortune if her husband will consent to take her surname. Fanny Burney's unusual love story and deft social satire was much admired on its first publication in 1782 for its subtle interweaving of comedy, humanity, and social analysis. Controversial in its time, this eighteenth-century novel seems entirely fresh in relation to late twentieth-century concerns. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This three-volume set brings together all that Samuel Richardson himself published on the composition, printing and interpretation of "Clarissa". The various short works reveal Richardson's reactions to the concerns and issues raised by contemporary readers.
This three-volume set brings together all that Samuel Richardson himself published on the composition, printing and interpretation of "Clarissa". The various short works reveal Richardson's reactions to the concerns and issues raised by contemporary readers.
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