Princeton, N.J. : Princeton University Press, c2002.
viii, 319 p. ; 24 cm.
Includes bibliographical references (p. 295-302) and index.
ACKNOWLEDGMENTS vi Introduction by Margaret Cohen and Carolyn Dever 1 PART I: The Novel without Borders 35 CHAPTER ONE: Transnationalism and the Origins of the (French) Novel by Joan DeJean 37 CHAPTER TWO: National or Transnational? The Eighteenth-Century Novel 50 CHAPTER THREE: Sentimental Bonds and Revolutionary Characters: Richardson's Pamela in England and France by Lynn Festa 73 CHAPTER FOUR: Sentimental Communities by Margaret Cohen 106 CHAPTER FIVE: Transnational Sympathies, Imaginary Communities by April Slliston 133 PART II: Imaging the "Othered" Nation 149 CHAPTER SIX: Phantom States: Cleveland, The Recess and the Origins of Historical Fiction by Richard Maxwell 151 CHAPTER SEVEN: Gender, Empire, and Episolarity: FromJane Austen's Mansfeild Park to Marie-Therese Humbert's La montogue des Signaux by Francoise Lionnet 183 CHAPTER EIGHT: The (Dis)locations of Romantic Nationalism: Shelley, Stael, and the Home-Schooling of Monsters by Deidre Shauna Lunch 194 CHAPTER NINE: "An Occult and Immoral Tyranny": The Novel, the Police, and the Agent Provocateur by Carolyn Dever 225 CHAPTER TEN: Comparative Sapphism by Sharon marcus 251 AFTERWORD: From Literary Channel to Narrative Chunnel by Emily Apter 286 SELECTED BIBLIOGRAPHY 295 CONTRIBUTORS 303 INDEX 305.
(source: Nielsen Book Data)
"The Literary Channel" defines a crucial transnational literary "zone" that shaped the development of the modern novel. During the first two centuries of the genre's history, Britain and France were locked in political, economic, and military struggle. The period also saw British and French writers, critics, and readers enthusiastically exchanging works, codes, and theories of the novel. Building on both nationally based literary history and comparatist work on poetics, this book rethinks the genre's evolution as marking the power and limits of modern cultural nationalism. In the Channel zone, the novel developed through interactions among texts, readers, writers, and translators that inextricably linked national literary cultures. It served as a forum to promote and critique nationalist cliches, whether from the standpoint of Enlightenment cosmopolitanism, the insurgent nationalism of colonized spaces, or the non-nationalized culture of consumption.In the process, the Channel zone promoted codes that became the genre's hallmarks, including the sentimental poetics that would shape fiction through the nineteenth century. Uniting leading critics who bridge literary history and theory, "The Literary Channel" will appeal to all readers attentive to the future of literary studies, as well as those interested in the novel's development, British and French cultural history, and extra-national patterns of cultural exchange. The contributors include April Alliston, Emily Apter, Margaret Cohen, Joan DeJean, Carolyn Dever, Lynn Festa, Francoise Lionnet, Deidre Shauna Lynch, Sharon Marcus, Richard Maxwell, and Mary Helen McMurran. (source: Nielsen Book Data)