articles+ search results

Romance fiction, French -- History and criticism., Sentimentalism in literature., Roman sentimental français -- Histoire et critique., Histoires d'amour françaises -- Histoire et critique., Sentimentalisme dans la littérature., Romance fiction, French., Sentimentala romaner -- historia., Fransk litteratur -- historia., Sentimentalitet i litteraturen., and Criticism, interpretation, etc.

English literature -- 18th century -- History and criticism., Sentimentalism in literature., Sex role in literature., Love in literature., Literature and society -- Great Britain -- History -- 18th century., English literature., Literature and society., Criticism, interpretation, etc., and History.

Tender is the night (Fitzgerald, F. Scott) and Sentimentalism in literature.

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 impulses as a prose writer. Messenger demonstrates that the sentimental identities, refractions, and influences Fitzgerald explores in Tender Is the Night define key components in his affective life, which evolved into a powerful aesthetic that informed his vocation as a modernist writer. 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 Fitzgerald's siblings powerfully molded his relation to maternal nurturing and sympathy in Tender Is the Night as well as how it shaped the homosocial intimations of its care-giving protagonist, psychiatrist Dick Diver. A concomitant grief and mourning was fueled by Fitzgerald's intimate and intense creative rivalry 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 fashion 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 describes 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 defines his career, and Messenger convincingly argues that Tender Is the Night should be placed alongside TheGreat Gatsby as a classic exemplar of the modern novel. -- Provided by publisher.

English fiction -- 18th century -- History and criticism., English fiction -- Women authors -- History and criticism., Women and literature -- England -- History -- 18th century., Sentimentalism in literature., Criticism, interpretation, etc., and History.

During the later eighteenth century, changes in the meaning and status of literature left popular sentimental novels stranded on the margins of literary history. While critics no longer dismiss or ignore these works, recent reassessments have emphasized their interventions in various political and cultural debates rather than their literary significance. Sentimental Memorials, by contrast, argues that sentimental novels gave the women who wrote them a means of clarifying, protesting, and finally memorializing the historical conditions under which they wrote. As women writers successfully navigated the professional marketplace but struggled to position their works among more lasting literary monuments, their novels reflect on what the elevation of literature would mean for women's literary reputations. Drawing together the history of the novel, women's literary history, and book history, Melissa Sodeman revisits the critical frameworks through which we have understood the history of literature. Novels by Sophia Lee, Ann Radcliffe, Charlotte Smith, and Mary Robinson, she argues, offer ways of rethinking some of the signal literary developments of this period, from emerging notions of genius and originality to the rise of an English canon. And in Sodeman's analysis, novels long seen as insufficiently literary acquire formal and self-historicizing importance. -- from back cover.

American literature -- 20th century -- History and criticism., American literature -- 21st century -- History and criticism., Sentimentalism in literature., American literature -- English influences., and Criticism, interpretation, etc.

"Features essays that examine how authors of the 20th and 21st centuries continue the use of sentimental forms and tropes of 19th century literature. While these later narratives employ aspects of the sentimental mode, many critique failures of the sentimental, deconstructing 19th century perspectives on race, class and gender and the ways they are promoted by sentimental ideals"--

American literature -- 20th century -- History and criticism., Sentimentalism in literature., American literature., Literature., Sentimentalism., and Criticism, interpretation, etc.

Today{u2019}s critical establishment assumes that sentimentalism is an eighteenth- and nineteenth-century literary mode that all but disappeared by the twentieth century. In this book, Jennifer Williamson argues that sentimentalism is alive and well in the modern era. By examining working-class literature that adopts the rhetoric of ?feeling right? in order to promote a proletarian or humanist ideology as well as neo-slave narratives that wrestle with the legacy of slavery and cultural definitions of African American families, she explores the ways contemporary authors engage with familiar sentimental clichés and ideals. Williamson covers new ground by examining authors who are not generally read for their sentimental narrative practices, considering the proletarian novels of Grace Lumpkin, Josephine Johnson, and John Steinbeck alongside neo-slave narratives written by Margaret Walker, Octavia Butler, and Toni Morrison. Through careful close readings, Williamson argues that the appropriation of sentimental modes enables both sympathetic thought and systemic action in the proletarian and neo-slave novels under discussion. She contrasts appropriations that facilitate such cultural work with those that do not, including Kathryn Stockett{u2019}s novel and film The Help. The book outlines how sentimentalism remains a viable and important means of promoting social justice while simultaneously recognizing and exploring how sentimentality can further white privilege. Sentimentalism is not only alive in the twentieth century. It is a flourishing rhetorical practice among a range of twentieth-century authors who use sentimental tactics in order to appeal to their readers about a range of social justice issues. This book demonstrates that at stake in their appeals is who is inside and outside of the American family and nation. --Amazon.com.

Religion and literature -- United States -- History -- 19th century., Sentimentalism in literature., Christianity in literature., American literature -- Women authors -- History and criticism., American literature -- 19th century -- History and criticism., American literature., American literature -- Women authors., Religion and literature., Criticism, interpretation, etc., and History.

Sentimentalism in literature. and Narration (Rhetoric)

English fiction -- 18th century -- History and criticism., Sentimentalism in literature., Emotions in literature., Literature and society -- Great Britain -- History -- 18th century., English fiction., LITERARY CRITICISM -- European -- English, Irish, Scottish, Welsh., Literature and society., Criticism, interpretation, etc., and History.

"Men of Feeling in Eighteenth-Century Literature" offers a new perspective on the interplay of sentimentalism and self-reflexivity in novels by Sterne, Smollett, Mackenzie, and Henry Brooke. Rather than evidence of eighteenth-century literature's capacity to anticipate (post)modernist metafiction, or an indicator of underlying tensions at the heart of sentimental fiction, self-reflexive practices in these texts, this book argues, can best be accounted for as strategies of 'corporeal defamiliarization.' These strategies denaturalize printed books as intimate things to be felt, whose powers reside not in their transportative potential as windows onto imagined worlds, but in their more tangible properties as physical objects that inspire physiological effects.

Polish poetry -- 20th century -- Themes, motives., Sentimentalism in literature., and Wills in literature.

French literature -- 16th century -- History and criticism., Publishers and publishing -- France -- History -- 16th century., Editing -- History -- 16th century., Books and reading -- France -- History -- 16th century., Book industries and trade -- France -- History -- 16th century., Sentimentalism in literature., Criticism, interpretation, etc., and History.

"What does it mean to "read a book," and not just to "read a text," and what are the signs, visible and invisible, verbal and non-verbal, which intervene in the interpretative process of readers? In the narratives in vernacular prose printed in the Renaissance, form created meaning: the printing choices established links between texts, the narrative paragraph took the place of linguistic unity, and division into chapters conditioned reading practices. The printing policies of the publisher-booksellers of the Palace thus participated in the birth and promotion of a new genre: the French récit sentimental. The successive editions of the Angoysses douloureuses qui procèdent d'amours, considered the first récit sentimental composed in the French language, invite us even to think that this tale, far from being the work of a single female author (traditionally thought to be Hélisenne de Crenne), is rather the fruit of intertextual manipulations carried out in the workshop of the printers of Janot's circle in order to give birth to a best-seller regarded above all as a printed item responding to the expectations of a new public."--Publisher website.

English literature -- 18th century -- History and criticism., English literature -- 19th century -- History and criticism., Slavery in literature., Sentimentalism in literature., Affect (Psychology) in literature., English language -- 18th century -- Rhetoric., English language -- 19th century -- Rhetoric., Antislavery movements -- Great Britain -- History., Antislavery movements -- United States -- History., Criticism, interpretation, etc., and History.

American literature -- 19th century -- History and criticism., Sentimentalism in literature., Sentimentalism -- United States -- History -- 19th century., Criticism, interpretation, etc., and History.

Sentimentalism., Sentimentalism in motion pictures., Sentimentalism in literature., English literature -- History and criticism., and Criticism, interpretation, etc.

"In the middle of the eighteenth century, something new made itself felt in European culture -- a tone or style that came to be called the sentimental. The sentimental mode went on to shape not just literature, art, music, and cinema, but people{u2019}s very structures of feeling, their ways of doing and being. In what is sure to become a critical classic, An Archaeology of Sympathy challenges Sergei Eisenstein{u2019}s influential account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries. James Chandler begins with a look at Frank Capra and the Capraesque in American public life, then digs back to the eighteenth century to examine the sentimental substratum underlying Dickens and early cinema alike. With this surprising move, he reveals how literary spectatorship in the eighteenth century anticipated classic Hollywood films such as Capra{u2019}s It Happened One Night, Mr. Deeds Goes to Town, and It{u2019}s a Wonderful Life. Chandler then moves forward to romanticism and modernism -- two cultural movements often seen as defined by their rejection of the sentimental -- examining how authors like Mary Shelley, Joseph Conrad, James Joyce, and Virginia Woolf actually engaged with sentimental forms and themes in ways that left a mark on their work. Reaching from Laurence Sterne to the Coen brothers, An Archaeology of Sympathy casts new light on the long eighteenth century and the novelistic forebears of cinema and our modern world."--From the dust-jacket front flap.

American fiction -- 19th century -- History and criticism., American fiction -- 20th century -- History and criticism., Sentimentalism in literature., Emotions in literature., American literature -- 20th century -- History and criticism., and American literature -- 19th century -- History and criticism.

"Between 1850 and 1940, with the rise of managerial capitalism in the United States, the most powerful businesses ceased to be family owned, instead becoming sprawling organizations controlled by complex bureaucracies. Sentimental literature--work written specifically to convey and inspire deep feeling--does not seem to fit with a swiftly bureaucratizing society. Surprisingly, though, sentimental language persisted in American literature, even as a culture of managed systems threatened to obscure the power of individual affect. The Sentimental Touch explores the strange, enduring power of sentimental language in the face of a rapidly changing culture. Analyzing novels by Harriet Beecher Stowe, Mark Twain, Sherwood Anderson, and Nathanael West, the book demonstrates that sentimental language changes but remains powerful, even in works by authors who self-consciously write against the sentimental tradition. Sentimental language has an afterlife, enduring in American literature long after authors and critics declared it dead, insisting that human feeling can resist a mechanizing culture and embodying, paradoxically, the way that literary conventions themselves become mechanical and systematic."--Publisher's website.

Spanish fiction -- Classical period, 1500-1700 -- History and criticism., Spanish fiction -- To 1500 -- History and criticism., Love stories, Spanish -- History and criticism., Sentimentalism in literature., Courtly love in literature., and Criticism, interpretation, etc.

Love stories -- History and criticism., Sentimentalism in literature., and Criticism, interpretation, etc.

German literature -- 20th century -- History and criticism., Sentimentalism in literature., Jacobins in literature., and Enlightenment -- Germany.

English literature -- 18th century -- History and criticism. and Sentimentalism in literature.

Sentimentalism in literature. and Literature, Modern -- 20th century -- History and criticism.