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In this fascinating study, Chris Messenger posits F. Scott Fitzgerald as a great master of sentiment in modern American fiction. Sentimental forms both attracted and repelled Fitzgerald while defining his deepest nature in prose. Messenger demonstrates that the sentimental identities, refractions, and influences Fitzgerald explores in Tender Is the Night define key components in his affective life that evolved into a powerful aesthetic, which underwrote his stature as a major novelist. In "Tender Is the Night" and F. Scott Fitzgerald's Sentimental Identities, Messenger traces the roots of Fitzgerald's writing career to the deaths of his two infant sisters, a few months before his own birth. It was their loss, Fitzgerald wrote, that made him a writer. Messenger highlights how the loss of his siblings powerfully molded his writer's relation to maternal nurturing and sympathy as well as shaped the homosocial intimations visible in the care-giving protagonist of Tender Is the Night, psychiatrist Dick Diver. A concomitant grief and mourning was articulated and fueled by Fitzgerald's intimate and writerly battle with his often-institutionalized wife, Zelda Sayre Fitzgerald. While sentiment is a discredited strain in high modernism, Fitzgerald nevertheless embraced it in Tender Is the Night to articulate this most poignant and beautiful successor to The Great Gatsby. Fitzgerald's aesthetic and emotional preoccupations came most vividly to life in this major novel. Messenger depicts how Fitzgerald, creating his character Nicole Warren Diver as a victim of paternal incest, finally found the sentimental key to finishing his novel and uniting his vision of the two narratives of "saving" the two sisters and reimagining the agony of his wife and their marriage. Fitzgerald's productive quarrel with and through sentiment brilliantly authorizes his career and Messenger convincingly argues that Tender Is the Night should be placed alongside The Great Gatsby as a classic novel.
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• Acknowledgements Introduction by Alessa Johns
• Part 1 Sympathetic Identification and Narrative Sociality
• 1 "Unequally Yoked": Defoe and the Challenge of Mixed Marriage by Alison Conway
• 2 Circumstantial Particulars, Particular Individuals, and Defoe by Joanna Picciotto
• 3 The Sentimental Animal by James P. Carson
• Part 2 Sentimental Family Politics and the Novel
• 4 "The Sentimental Servant: The Dangers of Dependence in Defoe's Roxana" by Barbara Benedict
• 5 Only a Girl?: Miss Milner, Matilda, and the Consolations of Filial Piety in A Simple Story by Amy Pawl
• 6 "The Abyss of Friendship in Caleb Williams" by George E. Haggerty
• 7 "Only a Boy": George Starr's "Notes on Sentimental Novels" Revisited by Geoffrey Sill
• Part 3 Professing Literature in a Changing Marketplace
• 8 Satirical Authorship and Literary Commerce by Simon Stern
• 9 Passion in Declamation and Dialogue: How Eighteenth-Century Verse Can Work by John Richetti Publications of George Starr About the Contributors.
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As scholarly interest has turned to emotion and affect, Reflections on Sentiment offers examples of Enlightenment feeling both challenging and promoting the period's touted reason and realism. Essays explore the complex relation of thought and sentiment in discourses from moral treatises and religious debates to interrogations of gender and family relations, from fictional tests of boundaries between human and non-human species to innovations in the forms of poetry, the novel, and the literary marketplace itself.
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Study of Oliver Goldsmith, 1728-1774, with special reference to his She stoops to conquer and The good natur'd man.

• Introduction: The how of sentimentality
• Edward Tyrrel channing and the matter of disingenuous eloquence
• Why we should trust Harriet Beecher Stowe
• The art of appearances in Louisa May Alcott
• Henry Ward Beecher and the fall of the sentimental orator
• In defense of reading badly
• A critical problem with being a good reader of sentimental rhetoric.

How could novels like Uncle Tom's Cabin change the hearts and minds of thousands of mid-nineteenth-century readers, yet make so many modern readers cringe at their over-the-top, tear-filled scenes? Sentimental Readers explains why sentimental rhetoric was so compelling to readers of that earlier era, why its popularity waned in the latter part of the nineteenth century, and why today it is generally characterised as overly emotional and artificial. But author Faye Halpern also does more: she demonstrates that this now despised rhetoric remains relevant to contemporary writing teachers and literary scholars. Halpern examines these novels with a fresh eye by positioning sentimentality as a rhetorical strategy on the part of these novels' (mostly) female authors, who used it to answer a question that plagued the male-dominated world of nineteenth-century American rhetoric and oratory: how could listeners be sure an eloquent speaker wasn't unscrupulously persuading them of an untruth? The authors of sentimental novels managed to solve this problem even as the professional male rhetoricians and orators could not, because sentimental rhetoric, filled with tears and other physical cues of earnestness, ensured that an audience could trust the heroes and heroines of these novels. However, as a wider range of authors began wielding sentimental rhetoric later in the nineteenth century, readers found themselves less and less convinced by this strategy. In her final discussion, Halpern steps beyond a purely historical analysis to interrogate contemporary rhetoric and reading practices among literature professors and their students, particularly first-year students new to the "close reading" method advocated and taught in most college English classrooms. Doing so allows her to investigate how sentimental novels are understood today by both groups and how these contemporary reading strategies compare to those of Americans more than a century ago. Clearly, sentimental novels still have something to teach us about how and why we read.
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• Rayonnement du roman sentimental au début du XIXe siècle
• Le roman sentimental. Bilan et perspectives
• Saint François, un héros sentimental de l'époque moderne. De Laurence Sterne à Julien Green
• Esthétique et état d'âme. Corinne ou l'Italie de Germaine de Staël comme roman sentimental
• Isabelle de Senancour. Un double itinéraire sentimental ?
• Une postérité ambivalente
• "Je portais au fond de mon coeur un besoin de sensibilité". L'hybridation du discours sentimental dans Adolphe de Benjamin Constant
• De l'amour. Le Lys dans la vallée de Balzac
• Cruel retournement de l'idylle. Virginie et Paul de Villiers de l'Isle-Adam
• Le Rêve de Zola. Un roman sentimental ou une variante du roman naturaliste ?
• De la lecture à la réécriture
• Échec romanesque et pouvoir du roman. La lecture sentimentale dans Olivier ou le secret de Claire de Duras
• Le rôle du lecteur dans le discours sur l'amour de George Sand. Le cas d'Indiana
• Intertextualités sentimentales. Antonio Fogazzaro, Remy de Gourmont, Louis Aragon
• Feuillet, Radiguet, Julia de Trécoeur et Le Bal du comte d'Orgel
• Le Bal du comte d'Orgel. Romanesque, sentimental et ironie
• Survivances contemporaines
• "Édith Piaf du nouveau roman" ?
• Marguerite Duras et le roman sentimental
• Autofiction féminine et photographie dans le roman sentimental de l'extrême contemporain
• Entre premier et dernier regard. Camille Laurens et le roman sentimental
• "La Veuve Aphrodissia" de Marguerite Yourcenar, fille rebelle du roman sentimental
• "Une extrême solitude". Le discours amoureux de Stendhal à Roland Barthes
• Assez parlé d'amour. Le roman d'amour version oulipienne.

"Le roman sentimental a eu pendant longtemps mauvaise presse et n'était plus guère sollicité par le discours critique qu'à titre de repoussoir, souvent pour enquêter sur les marges de la littérature. Les articles réunis dans ce volume ont au contraire pour but de montrer que la littérature sentimentale, loin d'avoir été disqualifiée et reléguée dans une production sérielle dénuée de prétention esthétique, reste "l'idéal secret du roman" (Alain Schaffner), un idéal qui peut paraître dépassé mais dont il garde la nostalgie tenace et par rapport auquel il continue à se penser, quitte à le détourner, au moins parce qu'il en connaît le potentiel de séduction. Cet ouvrage enquête sur la façon dont la littérature romanesque attestée des XIXe, XXe et XXIe siècles s'est appropriée, pour l'actualiser ou pour s'en distinguer nettement, le modèle thématique et structurel que lui fournissait le roman sentimental."--P. [4] of cover.

• List of Abbreviations Introduction: The Transformations of Sentiment 'Affective Individualism' and the Cult of Sentiment Feeling and/as Fiction: Illusion, Absorption and Emotional Quixotry Friedrich Schiller and the Aestheticising of Sentiment William Wordsworth: The Man of Feeling, Recollected Emotion, and 'the Sentiment of Being' Victorian Sentimentality: The Dialectic of Sentiment and Truth of Feeling Feeling as Illusion: Rousseau to Proust Modernism and the Critique of Sentimentality Henry James and D.H. Lawrence: 'Felt Life' and Truth to Feeling Conclusion: Literature, Criticism and the Culture of Feeling Notes Bibliography Index.
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This work defends feeling against customary distrust or condescension by showing that the affective turn of the 18th-century cult of sentiment, despite its sometimes surreal manifestations, has led to a positive culture of feeling. The very reaction against sentimentalism has taught us to identity sentimentality. Fiction, moreover, remains a principal means not just of discriminating quality of feeling but of appreciating its essentially imaginative nature.
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Sentimentalism is usually studied through US-British relations after the American Revolution or in connection to national reforms like the abolitionist movement. Transamerican Sentimentalism and Nineteenth-Century US Literary History instead argues that African American, Native American, Latinx, and Anglo American women writers also used sentimentalism to construct narratives that reframed or countered the violence dominating the nineteenth-century Americas, including the Haitian Revolution, Indian Removal, the US-Mexican War, and Cuba's independence wars. By tracking the transformation of sentimentalism as the US reacted to, enacted, and intervened in conflict Transamerican Sentimentalism and Nineteenth-Century US Literary History demonstrates how marginalized writers negotiated hemispheric encounters amidst the gendered, racialized, and cultural violence of the nineteenth-century Americas. It remaps sentiment's familiar transatlantic and national scholarly frameworks through authors such as Leonora Sansay and Mary Peabody Mann, and considers how authors including John Rollin Ridge, John S. and Harriet Jacobs, Maria Amparo Ruiz de Burton, Victor Sejour, and Martin R. Delany adapted the mode. Transamerican sentimentalism cannot unseat the violence of the nineteenth-century Americas, but it does produce other potential outcomes-including new paradigms for understanding the coquette, a locally successful informal diplomacy, and motivations for violent slave revolt. Such transformations mark not sentiment's failures or distortions, but its adaptive attempts to survive and thrive.
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