Este trabalho busca investigar o processo de formação do romance enquanto gênero literário na Inglaterra do século XVIII, a partir do paradigma estabelecido por Henry Fielding (1707-1754) em TOM JONES (1749), bem como suas reverberações no processo de formação do romance brasileiro em meados do século XIX, através do exame de MEMÓRIAS DE UM SARGENTO DE MILÍCIAS(1854), de Manuel Antônio de Almeida (1831-1861). Propomos que TOM JONES incorpora em sua composição uma tensão entre as chamadas esferas da essência e da aparência, ou entre o âmbito interior, privado e individual frente àquele do exterior, público e inerente ao mundo das convenções sociais, o que remete não apenas ao momento de formação do gênero em questão, mas também às condições históricas do meio onde o romance é produzido a partir da configuração da noção de indivíduo burguês. Tal embate não se articula nas MEMÓRIAS com a mesma complexidade e desenvoltura: novamente isso traz à discussão não somente o momento de formação do romance em solo nacional, mas também a peculiaridade das condições históricas brasileiras, pouco propícias à configuração da noção de indivíduo à época da publicação do livro. / This thesis aims at investigating the formation of the novel as a literary genre in eighteenth-century England, from the perspective of the paradigm established by Henry Fielding (1707-1754) in TOM JONES (1749), as well as its reverberations in the formation of the Brazilian novel in mid-nineteenth century, through the examination of MEMÓRIAS DE UM SARGENTO DE MILÍCIAS (1854), by Manuel Antônio de Almeida (1831-1861). We argue that TOM JONES incorporates in its composition the tension between the so-called spheres of the essence and the appearance, or between the scope of the internal, private and individual as opposed to what is external, public and inherent in the world of social conventions. Such a struggle leads us not only to the moment of genre formation, but also to the historical conditions in which the novel is produced, from the perspective of the rise of the bourgeois individual. Such a tension is not articulated in the MEMÓRIAS with the same level of complexity and effectiveness: once more, that brings us not only to the moment of genre formation on Brazilian soil, but also to the peculiarity of the Brazilian historical conditions, not much favourable to the configuration of the notion of the individual at the time the book was published.

Thesis Abstract The present thesis investigates correlations between a selection of metafictional texts and narrative theory. The selection consists in two sets of self-reflexive texts. The first one explores metafictional tendencies in the 17th and 18th century novels. To achieve this, the selection largely ignores their provenience. In addition to Henry Fielding's Tom Jones and Laurence Sterne's Tristram Shandy, it also examines Cervantes's Don Quixote. The latter set of texts focuses on post-War American metafictions (John Barth's Lost in the Funhouse, Donald Barthelme's Snow White, Kurt Vonnegut's Slaughterhouse-Five). These represent a coherent body of works from a particular period. Metafiction is generally understood as fiction about fiction. The present thesis challenges those assumptions and suggests interpreting metafiction within the framework of Michel Foucault's epistemes. Metafiction is not conceived of as a separate genre of literature but in the context of broader cultural tendencies in the understanding of representation. Representation is a key concept in metafiction and the increasing degree of narrative self-awareness is viewed in this light. The thesis emphasizes this contrastive and interdisciplinary approach. The text is divided into five chapters. Chapter one is a theoretical...

The parallels between the works of Geoffrey Chaucer and Henry Fielding are very striking. Both authors produced some of the greatest works in English literature, yet very little scholarly investigation has been done regarding these two in relationship with one another. In this work I explore the characters of Chaucer’s Parson and Parson Adams, assessing their strengths and weaknesses through pastoral guides by Gregory the Great and George Herbert, while drawing additional conclusions from John Dryden. I examine the episodic, theatrical nature of both authors’ works, along with the inclusion of fabliau throughout. Finally, I look at the shared motif of knight-errant in the works of both authors and the motion employed throughout the tales as travel narratives. By examining these authors’ works, I contend that Fielding masterfully employs many of Chaucer’s literary techniques in his own tales, crafting them to work specifically for the eighteenth-century novel and its audience.

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Zürich, Univ., Phil. Fak. I, Diss. von 1976. / Vollst. Ausg.: Europäische Hochschulschriften; Reihe XVIII. 9.

Thesis (M.A.) -- University of Adelaide, Dept. of English, 1965. / [Typescript]. Includes bibliography.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 257-279). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 257-279). Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1963. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 346-352).

Thesis (Ph. D.)--University of Wisconsin, 1928. / Without thesis note. "The following pages contain a verbatim copy of the pamphlet in the British Museum which gives a list of Fielding's library": p. 168-189. Bibliography: p. 190-195.