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Bibliography: leaves 333-361.

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Samuel Richardson's second novel, Clarissa: or, The History of a Young Lady, one of the longest novels in English, has appeared in dozens of significantly different editions, many of them abridgments. This study examines the means by which Richardson and later editors altered the text of Clarissa, primarily by working with three variables: its epistolary format, its length, and its explicit moral lessons.The first half of the study reviews relevant scholarly research and traces Richardson's uses of internal editors in his four editions of the novel. Richardson's omniscient editor, the most visible and conventional of the internal editors of ClarissR, operates both inside and outside the epistolary framework of the novel. Inside, the editorial voice adds identifying tags to letters and summarizes missing letters. Outside, the editor emphasizes moral elements of the novel by means of a preface and postscript, numerous footnotes, a list of principal characters, and a judgmental table of contents. Richardson expanded the role of this editor in each of his successive editions.Richardson's mastery of the epistolary format further appears in his use of all the major correspondents as internal editors. Jack Belford operates most visibly, assembling correspondence to and from Clarissa and Lovelace to vindicate Clarissa's memory and instruct possible readers. Belford's Conclusion serves a similar function to the nameless editor's preface and postscript. Richardson also gave Clarissa, Anna Howe, and Lovelace editorial tasks, including introducing and summarizing letters, footnoting, and altering letters before showing them to someone other than the intended recipient.Each major correspondent also has a unique individual editorial function.The study's second half analyzes and compares seven abridgments of Clarissa published between 1868 and 1971, concluding that all seven drastically change the novel (yet in differing fashions) despite their retention of its plot and epistolary format.All seven external editors alter Richardson's stated intentions. Four variables shape the comparison: stated editorial intent, omissions, alterations, and additions. An appendix lists the contents of all seven abridgments by individual letter. / Department of English

Bibliography: leaves 333-361 / xv, 361 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1988

Orientador: Rubens Pereira dos Santos / Resumo: A proposta de tese em foco contempla análises comparativas das obras "Clarissa" (1933), de Erico Verissimo, e "O lustre" (1946), de Clarice Lispector. Escritos no início de suas carreiras literárias, os romances dialogam entre si não somente as semelhanças de enredo, personagem principal e temas, mas a presença sensível da vanguarda impressionista, materializada na tessitura literária de ambas as narrativas, seja no plano do conteúdo ou da forma romanesca. Gêneros híbridos da modernidade, nas fronteiras entre o Bildungsroman moderno e o romance lírico, neste presente estudo também se objetivou interpretá-los e confrontá-los por esta chave de leitura, mas, sobretudo, compreender como acontece, em cada um desses romances, a transcriação (conceito de Haroldo de Campos [2006, 2015]) de uma estética eminentemente plástica para as veredas da linguagem, e como o impressionismo na literatura acabou adquirindo e consolidando contornos próprios e independentes da pintura cultivada no final do século XIX e começo do XX. Norteando-se pelos pressupostos da crítica literária (resgate da recepção e fortuna crítica das obras), teoria literária, literatura comparada e estudos interartes, a hipótese levantada por esta tese repousa, portanto, em investigar e comprovar a ressonância desta estética moderna que, imbricada ao estilo único de cada autor, produziu dois romances brasileiros com fortes ecos impressionistas. Com este processo de ressignificação comparada destas obras, a pesquisa almeja ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The proposed thesis in focus contemplates comparative analyzes of the works "Clarissa" (1933), by Erico Verissimo, and "O lustre" (1946), by Clarice Lispector. Written at the beginning of their literary careers, the novels dialogue among themselves not only the similarities of plot, main character and themes, but the sensitive presence of the impressionist avant-garde materialized in the literary fabric of both narratives, whether in terms of content or form. romanesque. Hybrid genres of modernity, on the frontiers between the modern Bildungsroman and the lyric novel, this study also aimed to interpret and confront them by this key reading, but, above all, to understand how it happens in each of these novels. transcreation (concept by Haroldo de Campos [2006, 2015]) of an eminently plastic aesthetic for the paths of language, and how impressionism in literature eventually acquired and consolidated its own independent contours of painting cultivated in the late nineteenth and early twentieth. Guided by the assumptions of literary criticism (redemption of the reception and critical fortune of works), literary theory, comparative literature and interart studies, the hypothesis raised by this thesis rests on investigating and proving the resonance of this modern aesthetic that, imbricated In the unique style of each author, he produced two Brazilian novels with strong impressionist echoes. With this process of comparative resignification of these works, the research aims to rescu... (Complete abstract click electronic access below) / Doutor

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Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T12:05:41Z (GMT). No. of bitstreams: 1 Maia_LudmiladeSouza_M.pdf: 993926 bytes, checksum: 64b05d09592660e1a62b9845a8551faa (MD5) Previous issue date: 2011 / Resumo: Este trabalho se dedica ao estudo do romance epistolar 'Clarissa, or the history of a young lady', de autoria do inglês Samuel Richardson, publicado entre os de anos 1747-48. O propósito é realizar uma pesquisa historiográfica através da interpretação da narrativa literária. A obra, objeto deste estudo, recria muitas das tensões sociais, políticas e religiosas latentes na sociedade inglesa do século XVIII. Os percalços vividos pela heroína da trama, entre o campo e a cidade, permitem analisar as relações sociais e de gênero da Inglaterra das Luzes. A trama conta a história de Clarissa, donzela d aristocracia rural inglesa que recebe a herança do avô, motivando disputas familiares. O primogênito preterido convence a família a casá-la com um homem odioso, para evitar sua independência e lucrar com o negócio. Clarissa se recusa ao matrimônio e passa a ser perseguida dentro de casa. Para escapar da tirania, ela foge para Londres com Lovelace, libertino que lhe faz a corte contra a vontade de sua família. Seu desejo de autonomia é interrompido quando seu raptor a aprisiona num bordel e a violenta. Para preservar sua vontade de virtude e a independência de seu espírito, Clarissa escolhe a morte como única saída moral possível. Com efeito, meu objetivo foi entender aquela sociedade a partir das páginas do romance, cuja análise, também, derivou de questões e referências exteriores à trama / Abstract: This work is dedicated to the novel 'Clarissa, or the history of a Young lady', written by Samuel Richardson, and published in 1747-48. My purpose was to make a historiographic research by using a literary narrative. This novel creates, in a literary way, many of the most important social, political, and religious conflicts of the Eighteenth Century English society. The mishaps of the life of the novel's protagonist, between the country and the city, allowed me to analyze the social and gender relations in the Enlightenment England. The plot tells us the story of Clarissa, an aristocratic maiden in rural England. She inherits an estate from her grandfather, which provokes a familiar disturbance. The deprecated old brother convinces the family to marry her to an odious man, to avoid her independence and to profit from the business. She refuses the marriage and her persecution begins at home. In order to escape from tyranny, she fled to London with the libertine Lovelace, who courts her against her family's will. Her wish for autonomy is interrupted when his abductor imprisons and rapes in a brothel. She wishes virtue and an independent soul, and that's why she chooses death, as the only possible way to maintain her moral intact. Indeed, my goal with this research was to understand the mentioned society from the pages of the novel,whose analysis also comes from questions and references external to the plot / Mestrado / Politica, Memoria e Cidade / Mestre em História

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