scholarly journals Mental Events.

2021 ◽  
Author(s):  
Wolf Schmid
Keyword(s):  
Jane Austen ◽  
Samuel Richardson ◽  
Mental Events ◽  
Different Cultures ◽  
Guiding Questions

Mental events, changes that take place in the consciousness of the narrated characters or the narrating entity, are an essential theme of narrative works. This book first undertakes a typologization of the procedures by means of which the content of consciousness is represented, as well as outlining the conditions of events and the criteria of eventfulness. Then, classic narrative works from various cultures and epochs – from Parzival and Tristan, through Samuel Richardson and Jane Austen, to Fëdor Dostoevskij and Anton Čexov – are examined in terms of how mental events are shaped in them. The book follows three guiding questions. What philosophy of events and consciousness is expressed in the works? How disposed are different cultures and epochs to eventfulness? To what extent do they allow for the presentation of fundamental mental changes?

scholarly journals The products of intertextuality: The value of student adaptations in a literature course

2014 ◽  
Vol 20 ◽  
Author(s):  
Misty Krueger
Keyword(s):  
Popular Culture ◽  
William Shakespeare ◽  
Digital Humanities ◽  
Jane Austen ◽  
Samuel Richardson ◽  
Henry Fielding ◽  
Literary Studies ◽  
Textual Production ◽  
Upper Level ◽  
Student Projects

The essay explores a pedagogy of adaptation that focuses on examining intertextuality and engaging students in textual production through the creation of an adaptation. The paper discusses the success of assigning an adaptation project in an upper-level, third-year literature course taught at a small university. It examines student adaptations of writings by William Shakespeare, Jane Austen, Samuel Richardson, Henry Fielding, Mary Shelley, and Ben H. Winters and of existing film adaptations of Sense and Sensibility and Frankenstein. I link student projects to critical concepts such as re-vision and multimodality, and disciplines such as literary studies and the digital humanities. I also analyze how the projects reflect students' interests in popular culture and fandom.

scholarly journals Editorial

2021 ◽  
Vol 33 (2) ◽  
pp. v-viii
Author(s):  
Graham Holderness
Keyword(s):  
Jane Austen ◽  
Daniel Defoe ◽  
Samuel Richardson ◽  
Henry Fielding ◽  
Literary Realism ◽  
Conduct Literature ◽  
The Novel ◽  
Age Of Reason ◽  
The Past ◽  
New Novel

When I first studied the novel, the form was believed to have originated in the eighteenth century with the fiction of Daniel Defoe, Henry Fielding and Samuel Richardson, and was synonymous with literary realism. The novel emerged from the Age of Reason, was closely associated with journalism, satire and conduct literature, and marked a profound break with the supernatural, fantastic and romance narratives of the past. Its perfect embodiment was to be found in the work of Jane Austen, even today an immensely popular writer, and widely regarded as a defining practitioner of the novel form. This kind of novel was/is in every respect different from Shakespeare: new, ‘novel’, not old; prose, not poetry; narrative, not dramatic; realist, not magical; fictional, not metafictional; and could deal with Shakespeare only as an objective feature of the society and culture being represented.

Fiction

Unfelt ◽  
2020 ◽  
pp. 68-112
Author(s):  
James Noggle
Keyword(s):  
Eighteenth Century ◽  
Jane Austen ◽  
Samuel Richardson ◽  
Henry Fielding ◽  
Frances Burney ◽  
Marriage Plot

This chapter explains that unfelt affects are among the most subtly potent ones in eighteenth-century fiction, and they often decisively delineate character, advance plot, and confer a distinctive texture on narrative. The capacity of characters not to feel and not to notice feelings vitally supports the expressions of high emotion and intense desire long seen as among the novel's reasons for existence. In their privative sense, words like insensible and imperceptible sometimes serve as a plot device. Yet novelists also gesture to the insensible to evoke deeply meaningful affect, not merely as an alternative to the high-flown feelings evident in such fiction but also as a way of quietly enhancing their profundity. Moreover, these gestures help novelists navigate the perilous tensions and congruities between virtue and desire that are definitive of heroines' predicament in the marriage plot. The chapter then studies the insensible in the works of Henry Fielding, Samuel Richardson, Frances Burney, and Jane Austen.

Richardson's Repetitions

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 64-67
Author(s):  
Morris Golden
Keyword(s):  
Jane Austen ◽  
Samuel Richardson ◽  
Limited Experience ◽  
The World ◽  
Similar Character ◽  
Character Types

A number of critics, most thoroughly A. D. McKillop in his excellent Samuel Richardson: Printer and Novelist, have commented on Richardson's tendency to repeat himself. Like other novelists of fairly limited experience (e.g., Jane Austen) or with a strongly intuitive way of perceiving the world (e.g., D. H. Lawrence), Richardson tended to use similar character types and involve them in similar situations, and this even more pervasively and significantly than has so far been noted.

Understanding the Communication Needs of Culturally and Linguistically Diverse Students Who Are Deafblind

2017 ◽  
Vol 2 (12) ◽  
pp. 81-88
Author(s):  
Sandy K. Bowen ◽  
Silvia M. Correa-Torres
Keyword(s):  
Sign Language ◽  
Augmentative And Alternative Communication ◽  
Linguistically Diverse ◽  
Spoken Language ◽  
Culturally And Linguistically Diverse ◽  
Alternative Communication ◽  
Linguistically Diverse Students ◽  
The Past ◽  
Communication Needs ◽  
Different Cultures

America's population is more diverse than ever before. The prevalence of students who are culturally and/or linguistically diverse (CLD) has been steadily increasing over the past decade. The changes in America's demographics require teachers who provide services to students with deafblindness to have an increased awareness of different cultures and diversity in today's classrooms, particularly regarding communication choices. Children who are deafblind may use spoken language with appropriate amplification, sign language or modified sign language, and/or some form of augmentative and alternative communication (AAC).

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