Reproduction de : Thèse de doctorat : Etudes anglophones : Lyon 2 : 2004. / Titre provenant de l'écran-titre. Bibliogr. Notes bibliogr. Index.

An examination of the plays which Henry Fielding wrote before becoming one of England's greatest novelists has revealed that they possess strong comic merit and are worthy of serious critical attention. Before turning to the plays themselves, the critical corpus on Fielding's plays has been considered, and the nature and purpose of Fielding's dramatic burlesque has been defined.Fielding's burlesque embodies the serious comic purpose of exposing vice and folly in the theater. Specifically, Fielding objects to the restrictions imposed on playwrights by dramatic conventions as well as by the critics and theater managers; furthermore, he criticizes the rude behavior and insipid taste of contemporary playgoers.This theatrical criticism has illuminated Fielding’s comic craft, displaying the ways in which he uses the vehicle of vice and folly in the theater to expose these flaws in social, political, and professional institutions as well.

Thesis (M.A.)--University of Adelaide, Dept. of English, 1993. / "Submitted as Ph. D thesis." Includes bibliographical references (leaves 468-493).

Zugleich: Diss. Münster (Westfalen), 2007. / Register. Literaturverz.

In 1651, Thomas Hobbes published his Leviathan. In it he analyses the passions and behaviour of men in an emerging market or competitive society. By posing his hypothetical "state of nature," he draws the conclusion that man is essentially a self-motivated creature. Lord Ashley Cooper, the third Earl of Shaftesbury, reacted to the picture of man drawn by Hobbes. In Characteristics of Men, Manners, Opinions, and Times, first published in 1709, Shaftesbury analyses the affections or passions and concludes that man is essentially benevolent. Unlike the Hobbesian picture, the Shaftesburian analysis shows man as outward-oriented, seeking the good and company of others. These theories or the doctrines of the heart (as I call them for the purpose of this thesis) were current in the eighteenth century and at a time when Fielding and Sterne wrote Tom Jones and The Life and Opinions of Tristram Shandy, Gentleman respectively. The doctrines are reflected substantially in both novels. In Tom Jones, for example, Tom becomes the epitome of the doctrine of benevolence in his persistent performance of good works; Blifil, in his selfish attempts to supplant Tom, displays Hobbesian egocentricity. Uncle Toby and Mr. Walter Shandy each reflect aspects of both doctrines in Tristram Shandy. It is my intention to show in this thesis that the doctrines of egocentricity and benevolence inform both Tom Jones and Tristram Shandy, and that Fielding and Sterne react critically to the teaching of Hobbes and Shaftesbury in the process of their artistic creation. I shall approach the discussion chiefly by way of character analysis thus showing how the behaviour of the main figures in the novels suggests the thoughts of the philosophers. But the novelists' vision becomes clearer to the reader when it is seen in direct relation to the style of their works. In addition to the character analysis , therefore, I shall emphasize the narrative technique of each author, such as, the "comic- epic prose" of Fielding, the digressions as well as the "Shandean rhetoric" of Sterne, and attempt to illustrate how the style strengthens the awareness of the artistic vision. / Arts, Faculty of / English, Department of / Graduate

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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.

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.