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The satiric moral fable a study of an Augustan genre with particular reference to Fielding /Kishler, Thomas Charles, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1959. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 337-345).
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Rational vision and the comic resolution a study in the novels of Richardson, Fielding and Jane Austen /Sharp, Ruth Marion McKenzie, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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L'influence francaise dans les oeuvres de Fielding et dans le théâtre anglais contemporain de ses comédiesParfitt, G. E. January 1928 (has links)
Thèse--Paris. / "Bibliographie sommaire"; p. [147]-150.
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Character on trial : reading and judgement in Henry Fielding's worksMace, Rachel Kathryn January 2018 (has links)
To be placed above the Reach of Deceit is to be placed above the Rank of a human Being - Henry Fielding, A Clear State of the Case of Elizabeth Canning, 1753. Throughout his literary and legal careers, Fielding was concerned with the difficulties of reading and judging character accurately. He saw society as being rife with deceptive and duplicitous individuals and articulated his concerns in his writing, offering various advices to his readers. This thesis examines Fielding’s changing approaches to characterization and his proposed methods for judging character. There is a strong tradition within Fielding criticism, particularly prevalent in the mid-twentieth century, of seeing Fielding’s characters as ‘essential’, that is to say, innate and unchanging: the product of his theory of ‘Conservation of Character’. As such, his characters are often deemed easy-to-read and lacking fully-determined internal lives. Since the mid-1990s, however, critics have begun to argue that his characters are more dynamic than first supposed. While critics have noted the role of judgement in Fielding’s novels, it has not yet been explored in depth in his plays. With some notable exceptions, few studies have explored the interrelation between his novels and plays in a sustained way. I argue that Fielding examines questions of discerning character in both his plays and his novels, and that the early plays are essential for understanding the concepts which are central to his theory of judgement. This thesis contributes to studies of Fielding in three ways: by intervening in long-standing discussions of Fielding’s characterization; by analysing themes of good nature, perception and gossip which develop from his early dramatic work into the better-known novels; and by exploring its relationship to wider ideas about character in the eighteenth-century theatre and novel. Beginning with his plays, I consider Fielding’s presentation of the judgement of character in a range of his works from 1728-1753. I suggest that the early plays gave Fielding the space in which to experiment with the presentation of character and his relationship to his audience. His novels build upon concepts first introduced in the plays, such as good nature, perception and gossip, which he suggests are key to perceiving character. Fielding encourages his audiences and readers to engage with character as a process of discovery (as it is in life), but does not punish or mock them when they make mistakes. In doing so, he gives his audiences and readers indulgences he could ill afford in his magisterial career: time for judgement and the luxury of occasionally being proved wrong.
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London! O Melancholy! : the eloquence of the body in the town in the English novel of sentimentMorgan, George MacGregor 05 1900 (has links)
Morgan reads the treatment of gesture in Clarissa (Richardson, 1747 - 48), Amelia (Fielding,1 751), and Cecilia (Burney, 1782) to study the capacity the sentimental novel attributes to physical forms of eloquence to generate sociability and moderate selfishness in London. He argues that the eighteenth-century English novel of sentiment adopts a physiology derived from Descartes's theory of the body-machine to construct sentimental protagonists whose gestures bear witness against Bernard Mandeville's assertions that people are not naturally sociable, and that self-interest, rather than sympathy, determines absolutely every aspect of human behaviour. However, when studied in the context of sentimental fiction set in the cruel and unsociable metropolis of London, the action of this eloquent body proved relatively ineffectual in changing its spectators for the better. In the English novelistic tradition that stems from Samuel Richardson's Clarissa (1747 - 48), selfishness lies at the roots of civilization, and inculcates modern urban people with instinctively theatrical mores: metropolitan theatricality, marked out in the gestures of the polite body, works to vitiate the sociability that might naturally animate everyday human intercourse. Clarissa responds to the dilemma of the intrinsic theatricality and self-interestedness of modern civil society with a heroine whose gestures (that is, whose physical states) demonstrate an eloquence that partially counteracts some of the effects self-love has upon the metropolis. But while sympathy and natural eloquence do little to diminish London's submission to selfishness, they remain, in Clarissa, unequivocally good. In contrast with Clarissa, Henry Fielding's Amelia (1751) and Frances Burney's Cecilia (1782) criticize both phenomena. In these novels, both by written by socially conservative authors, natural eloquence and sympathy do not generate sociability in London at all and do not even ensure personal virtue unless they are tempered by the discipline of some kind of theatricality. For Fielding and for Burney, unregulated sympathy becomes a problem to which the best remedy is a modicum of stage-craft. But, strangely enough, all three novels indirectly licence the principles of the self-interest they ostensibly attack. Ultimately, these novels of sentiment self-consciously position sympathy and natural eloquence as supplemental discourses that might protest against the dominant practices of Mandevillian self-interest that produce the social order of the metropolis. The net result is that the novel of sentiment implicitly tolerates the dominance of self-interest in the areas of public activity that lie mostly outside the subject-matter with which sentimental fiction principally concerns itself. / Arts, Faculty of / English, Department of / Graduate
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The significance of Henry Fielding’s dramatic works.Heller, Mildred. January 1942 (has links)
No description available.
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Henry Fielding's WhoresSmith, Kalin 11 1900 (has links)
The mercenary whore is a recurring character-type in Henry Fielding’s plays and early fictions. This thesis examines Fielding’s representations of the sex-worker in relation to popular eighteenth-century discourses surrounding prostitution reform and the so-called ‘woman question’. Fielding routinely confronted, and at times affronted his audience’s sensibilities toward sexuality, and London’s infamous sex-trade was a particularly contentious issue among the moralists, politicians, and religious zealots of his day. As a writer of stage comedy and satirical fiction, Fielding attempted to laugh his audience into a reformed sensibility toward whoredom. He complicates common perceptions of the whore as a diseased, licentious, and irredeemable social other by exposing the folly, fallibility, and ultimate humanity of the modern sex-worker. By investigating three of Fielding’s stage comedies—"The Covent-Garden Tragedy" (1732), "The Modern Husband" (1734), and "Miss Lucy in Town" (1742)—and two of his early prose satires—"Shamela" (1741) and "Joseph Andrews" (1742)—in relation to broader sociocultural concerns and anxieties surrounding prostitution in eighteenth-century Britain, this thesis locates Fielding’s early humanitarian efforts to engender a reformed paradigm of charitable sympathy for fallen women later championed in his work as a justice and magistrate. / Thesis / Master of Arts (MA)
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Mistura fina, ou a verdadeira história das Aventuras de David Simple / The Adventures of David Simple, Sarah FieldingMarques, Mariana Teixeira 04 October 2006 (has links)
As Aventuras de David Simple, primeiro romance de Sarah Fielding publicado em 1744, foi redescoberto pela crítica anglo-saxã nos anos 60 através da adoção de perspectivas que buscavam questionar as abordagens canônicas no que se refere ao romance moderno como gênero. Neste trabalho, procuramos compreender a contribuição, dentro da história do romance, dos principais estudos acerca de David Simple, e propor uma análise crítica que, aproximando-se do material narrativo, visa a expor como se formulam, no nível da fatura, algumas das questões fundamentais da vida socioeconômica e literária da Inglaterra neste período / The Adventures of David Simple, Sarah Fielding\'s first novel published in 1744, was rediscovered by Anglo Saxon critics in the 1960\'s who employed new perspectives that aimed at questioning earlier canonical assumptions regarding the modern novel as a genre. The aim of this research is to understand the contributions, to the history of the novel, of the main studies concerning David Simple, and also to propose a critical analysis that, approaching the narrative material, aims at exposing how the novel formulates, in the managing of its structure and themes, some of the fundamental issues in socioeconomic and literary English life in this period
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Henry Fielding's four journals : the Champion, the True patriot, the Jacobite's journal, the Covent garden journal : on the uses and abuses of languageBarlow, Kathleen P. January 1991 (has links)
This study is an examination of Henry Fielding's attitude toward the uses and abuses of language in the four newspapers which he edited: The Champion (1739-40), The True Patriot (1745-46), The Jacobite's Journal (1747-48), The Covent Garden Journal (1752). This exploration begins with a consideration of Fielding's attitude toward the corrupting and corruptible word and the relationship which he saw between the corruption and decline in language and the corruption and decline in ethics and morality. It focuses on these four journals largely neglected by previous Fielding critics, searching them for references to language uses and abuses and for the social theory underlying these remarks. This study moreover traces and investigates Fielding's seventeenth-century philosophical forerunners-Thomas Hobbes, Bernard de Mandeville, Anthony Ashley Cooper Third Earl of Shaftesbury, John Locke--and their profound effect on Fielding's ethos and ethics in particular and on those of the eighteenth century in general. Locke is discussed in most detail because he directly shaped Fielding's attitude toward language.Because language is a major tool of certain learned professions, three chapters examine Fielding's position in his journals on the uses and abuses of language as related to three groups of professionals: the clergy, writers and critics, and lawyers and doctors.This study suggests further areas needing investigation: (1) critical editions of The Champion and The Covent Garden Journal, (2) a comparative study of Fielding's journalistic efforts with those of Addison, Steele, Defoe, and especially Swift, (3) an examination of Fielding's attitude toward women in the four journals, (4) an exploration of the philosophical relationship between Fielding and Locke, (5) a comparison of Fielding's theories of language and society with those of two modern linguistphilosophers--George Orwell and Walter Ong.Fielding attempted in his four journals to restore a language that he saw as fallen into corruption and abuse. Language, he thought, often becomes corrupt first; then the corruptions in society follow. Fielding's four journals provide particularly useful indications of how seriously he took language, how prevalent he found its abuses in the professions of mid-eighteenth-century England, and how he hoped through purifying language to reform society itself in his own time. / Department of English
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Mistura fina, ou a verdadeira história das Aventuras de David Simple / The Adventures of David Simple, Sarah FieldingMariana Teixeira Marques 04 October 2006 (has links)
As Aventuras de David Simple, primeiro romance de Sarah Fielding publicado em 1744, foi redescoberto pela crítica anglo-saxã nos anos 60 através da adoção de perspectivas que buscavam questionar as abordagens canônicas no que se refere ao romance moderno como gênero. Neste trabalho, procuramos compreender a contribuição, dentro da história do romance, dos principais estudos acerca de David Simple, e propor uma análise crítica que, aproximando-se do material narrativo, visa a expor como se formulam, no nível da fatura, algumas das questões fundamentais da vida socioeconômica e literária da Inglaterra neste período / The Adventures of David Simple, Sarah Fielding\'s first novel published in 1744, was rediscovered by Anglo Saxon critics in the 1960\'s who employed new perspectives that aimed at questioning earlier canonical assumptions regarding the modern novel as a genre. The aim of this research is to understand the contributions, to the history of the novel, of the main studies concerning David Simple, and also to propose a critical analysis that, approaching the narrative material, aims at exposing how the novel formulates, in the managing of its structure and themes, some of the fundamental issues in socioeconomic and literary English life in this period
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