scholarly journals No bosque ficcional de Tristram Shandy: leitor e narrador nas entrelinhas

2021 ◽  
Vol 74 (1) ◽  
Author(s):  
Aline Candido Trigo ◽  
Luciana Brito
Keyword(s):  
Virginia Woolf ◽  
Laurence Sterne ◽  
Maurice Blanchot ◽  
Umberto Eco ◽  
Tristram Shandy ◽  
Gerard Genette

Este trabalho analisa as figurações do leitor em Tristram Shandy, de Laurence Sterne a partir das ideias de Umberto Eco, Gerard Genette e Maurice Blanchot, com foco na relação entre narrador e leitor e o efeito estético decorrente das técnicas formais. Frente a um narrador-autor-personagem autoconsciente, os jogos com os limites do real e do imaginário são recorrentes, e desafiam aos mais variados tipos de leitores ainda na contemporaneidade. Tais experimentalismos refletem as ações do leitor, que se vê constantemente instigado e desafiado. Considerada por Virginia Woolf a precursora do romance moderno, a obra recebe pontos de vista distintos no que tange à interpretação de sua forma, conforme será discutido aqui, ao ponto de ser, por vezes, melhor compreendida pelos escritores shandianos que lhe seguiram e ainda seguem o influxo de ressignificação da mimesis e da forma literária.   

The Novelty of Laurence Sterne

2018 ◽  
Author(s):  
James Chandler
Keyword(s):  
Laurence Sterne ◽  
The Novel ◽  
Tristram Shandy ◽  
Literary Fame

This chapter focuses on the novelty of Laurence Sterne. Sterne's early writings consisted mainly of sermons. He won both immediate celebrity and lasting literary fame, however, with two works that he produced in the final decade of his life: Tristram Shandy, serialized in nine volumes from 1759 to 1767, and the unfinished sequel, A Sentimental Journey, published just three weeks before his death in 1768. These two books earned Sterne high praise even from tough critics. The novelty and originality of Sterne's work was widely acknowledged in an age caught up in praise for the novel and original. Tristram Shandy’s style, mode, characters, and trope became regular features of the literary landscape in Britain, Ireland, America, and even the Continent. Meanwhile, the unfinished sequel effectively created a new subgenre in fiction. Through the Modernist period, indeed, Sterne's work was recognized as a literary-historical touchstone and a provocation to innovate.

scholarly journals Una mirada a la parodia desde el formalismo ruso: "Tristram Shandy" de Laurence Sterne

2011 ◽  
pp. 299
Author(s):  
María Djurdjevic
Keyword(s):  
Cultural Theory ◽  
Laurence Sterne ◽  
Philosophical Tradition ◽  
Cultural Tradition ◽  
The Novel ◽  
Russian Formalism ◽  
Tristram Shandy ◽  
Postmodern Novel ◽  
The Times ◽  
The Aesthetic

El artículo aborda la revolucionaria lectura de la novela Tristram Shandy (1767) de L. Sterne por los formalistas rusos (Shklovski), que subrayó la importancia de los aspectos formal y paródico de esa obra, calificada también como la primera novela postmoderna. No obstante, la parodia como herramienta de reflexión metaliteraria está en uso desde la antigüedad griega. Se aborda paralelamente el hito principal de la teoría literaria y cultural rusa –la reconexión con la tradición filosófica premoderna– que ilustra que toda labor hermenéutica depende de las normas estéticas de la tradición cultural desde la cual se estudia.The article tackles a revolutionary reading of the Laurence Sterne’s novel Tristram Shandy (1767) by Russian Formalism (V. Shklovsky, 1921), focused on the importance of its formal and parodic aspects. The novel has also been assessed as the first postmodern novel in history. But the parody is being used as a tool for metaliterary thinking from the times of the Ancient Greece. Thus, this text also tackles the principal milestone of the Russian Literature and Cultural Theory –its reconnecting with the pre- Modern philosophical tradition– illustrating how our hermeneutic work depends on the aesthetic norms of the cultural tradition we belong to.

Laurence Sterne in the Romantic Anthology

2019 ◽  
pp. 93-125
Author(s):  
Jeanne M. Britton
Keyword(s):  
Nineteenth Century ◽  
Emotional Disturbance ◽  
Laurence Sterne ◽  
Subject Formation ◽  
Sentimental Fiction ◽  
Tristram Shandy ◽  
Original Works ◽  
Romantic Era ◽  
Shared Affect

This chapter describes the fictional forms by which Laurence Sterne’s Tristram Shandy and A Sentimental Journey present confrontations between characters separated by differences of ethnicity, race, and species, particularly in episodes that were frequently republished in popular anthologies. Around the turn of the nineteenth century, readers encountered a version of Sterne’s sentimental fiction that is incompatible with a critical consensus about his novels. While Sterne has been understood to base subject-formation on the appropriation of another’s sentiments through the experience of sympathy, popular anthologized forms of his works, by contrast, emphasize emotional disturbance and preclude the return to a stable, narrating self. Anthologized versions of Sterne mobilize aspects of his original works—the structure of the frame tale, an interest in giving voice to figures of radical difference (including animals and former slaves), and the experience of shared affect and narrative—and specify Romantic-era fiction’s revision of sympathy.

Tristram Shandy and the Divided Worlds of Politics

2019 ◽  
pp. 88-122
Author(s):  
John Owen Havard
Keyword(s):  
Laurence Sterne ◽  
Political Activity ◽  
The Political ◽  
Tristram Shandy ◽  
Early Experiences ◽  
Political Journalism

This chapter examines the extent to which The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne engaged with politics. Beginning with Sterne’s fleeting involvement in Whig political journalism, the chapter shows how these early experiences as a writer coincided with dramatic changes to the organization of partisanship and the emergence of cynicism towards the political establishment as such. Tristram Shandy took shape, the chapter goes on to show, in relation both to the changing parameters of political activity and to a growing impulse to escape from politics altogether. Taking cues from a Dublin-published pamphlet that imagined Tristram entering into the fray of political activity, the chapter brings into focus the diverse political trajectories that Sterne incorporated into his fiction—and the ways they were subsequently closed down or rerouted by the ongoing composition and reception of his works and with the onset of his sentimental reputation.

scholarly journals ASPECTOS DA COMICIDADE EM A VIDA E AS OPINIÕES DO CAVALHEIRO TRISTRAM SHANDY E MEMÓRIAS PÓSTUMAS DE BRÁS CUBAS

2010 ◽  
Vol 45 ◽  
Author(s):  
Mail Marques de Azevedo
Keyword(s):  
Laurence Sterne ◽  
Machado De Assis ◽  
Tristram Shandy ◽  
Vladimir Propp

Com base no conceito de comicidade de Vladimir Propp. este trabalho estabelece um paralelo entre o tratamento das personagens em Memórias póstumas de Brás Cubas. de Machado de Assis e A vida e as opiniões do Cavalheiro Tristram Shandy, de Laurence Sterne.

The Sense and Nonsense of Omnipotence

1968 ◽  
Vol 3 (2) ◽  
pp. 525-538
Author(s):  
Paul Grimley Kuntz
Keyword(s):  
Laurence Sterne ◽  
The Other ◽  
Tristram Shandy ◽  
The Subject ◽  
The One

In that ‘Cock and Bull’ story, Tristram Shandy, Laurence Sterne satirises philosophic disputation. Since the subject is a nose, the philosophers, divided already along Catholic and Lutheran lines, become Nosarians and Anti-nosarians. The doctors belong to the two universities of Strasburg. On ‘which side of the nose [would] the two universities split’?'Tis above reason, cried the doctors on one side.'Tis below reason, cried the others.'Tis faith, we cried.'Tis a fiddle-stick, said the other.'Tis possible, cried the one.'Tis impossible, said the other.God's power is infinite, cried the Nosarians, he can do anything.He can do nothing, cried the Antinosarians, which implies contradictions.He can make matter think, said the Nosarians.As certainly as you can make a velvet cap out of a sow's ear, replied the Antinosarians.

scholarly journals A invenção machadiana e o experimentalismo sterniano como prolegômenos ao século XX: poéticas polifônicas e autoconsciência da multiplicidade

2020 ◽  
Vol 38 ◽  
pp. 78
Author(s):  
Ana Clara Magalhães de Medeiros ◽  
Augusto Rodrigues da Silva Junior
Keyword(s):  
Laurence Sterne ◽  
Machado De Assis ◽  
Tristram Shandy

A poética do romance passa por grandes transformações com autores como Xavier de Maistre e Laurence Sterne (no século XVIII) e Machado de Assis (no XIX). Nesta proposta, destacamos as obras A vida e as opiniões do Cavaleiro Tristram Shandy (Sterne 1759) eMemórias póstumas de Brás Cubas (Assis 1880), cuja publicação em folhetim completa 140 anos em 2020. Entendendo Memórias póstumas de Brás Cubas como primeiro romance brasileiro experimental, observamos as marcas da linguagem de Sterne e de Maistre evocadas pelo defunto autor Brás Cubas desde o Prólogo de suas Memórias, não por acaso, póstumas. Para tratar dos modos de fazer a autoconsciência narrativa, retomamos estilos ilimitados com Rabelais e Cervantes. Deambulando por prólogos romanescos, nos debruçamos sobre o “Ao leitor” de autoria machadiana. Amparados por pensadores do literário no século XX, como Carpeaux, Borges, Bakhtin e Calvino, estabelecemos relação entre os conceitos de polifonia e multiplicidade em uma compreensão do literário sem modelos estáveis e hierarquizados. Nesse sentido, descortinamos a condição de uma poética tanatográfica do autor criado Brás Cubas, da qual emanam desejos e movem-se formas romanescas autoconscientes em constante decomposição biográfica.

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