Search

Спадщина Генрі Філдінга, видатного представника англійського літератури середини XVIIІ століття, дає цікавий матеріал для спостереження над розвитком індивідуальної свідомості, яка почала формуватися у Європі в той час. А роман «Історія Тома Джонса, знайди» є одним із яскравих зразків новочасного роману, у якому виявилися наративні стратегії, що вплинули й на подальший розвиток романного жанру. Творчість Г. Філдінга розглядали такі літературознаці, як Т. Дьяконова, А. Єлістратова, Д. Наливайко та ін., проте наративна організація прози митця залишалася поза увагою дослідників. У зв’язку з цим головна мета статті – виявити специфіку наративної моделі роману «Історія Тома Джонса, знайди» Г. Філдінга у контексті розвитку англійського роману доби., The article deals with the main trends in developing the English novel of the Enlightenment and H. Fielding’s contribution in the history of the novel. The subject of the research is the narrative model of «The History of Tom Jones, a Founding», which can be described asrealistic, satiric. The writer followed the traditions of M. Servantes’s «Don Quixote» and such representative of sentimentalism as S. Richardson. Meanwhile, H. Fielding is a great innovator in the genre of the novel, as it got closer to the modern life. The novel of H. Fielding became more open, dynamic and realistic and fulfilled the requirements of the Enlightenment; also it showed the attitude to the domestic environment. Fielding’s «The History of Tom Jones, a Founding» is the bright sample of the realistic novel of the Enlightenment, which established in the XVIII century and influenced the further development of the novel. H. Fielding described for the first time to the social and historical background and represented the variety of details. The “core” of H. Fielding’s narrative model is the snob as a character and the background to the biography serves the real world, the conditions of forming and upbringing of the character. H. Fielding broadened the frames of the European novel and deprived it of the elements of fairy tale, fantasy, the didactic pathos. Tom Jones is supposed to be the hero of his time, harmonically united with the society and combines the advantages and disadvantages.

Progressive increase in crime that plagued the English society in the 18th century was a popular area of public discourse, and a cradle for the idea of preventive crime, which later became the core for the ideology of the modern criminal justice system. The idea of prevention has become the central thesis of Henry Fielding’s treatise An Enquiry into the Causes of the Late Increase of Robberies... (1751). Fielding believed that increase in crime was a structural consequence of the commercialization of society and an increase in the welfare of the lower classes, which from the point of view of the Neo-Roman republican tradition threatened to destabilize the constitution. These neoclassical arguments intersected with the concept of the fall, the presence of a constant danger of vicious temptations for each individual. At the same time, Fielding’s arguments were based partly on J. Locke’s reasoning about the mind as a tabula rasa and the transformation of character through the creative or destructive power of habits and examples. Combining the three discourses, classical, Christian, and scientific, Fielding concluded that crime threatens the freedom of the state, both from a moral and a political point of view. Прогрессирующий рост преступности, с которым столкнулось английское общество в XVIII столетии, был популярным направлением общественного дискурса, в русле которого зародилась идея превенции преступления, впоследствии ставшая ядром идеологии современной системы уголовного судопроизводства. Идея превенции стала центральным тезисом трактата Генри Филдинга «Исследование причин участившихся преступлений…» (1751 г.). Филдинг полагал, что рост преступности был структурным следствием коммерциализации общества, увеличившей благосостояние низших сословий, что с точки зрения нео-римской республиканской традиции угрожало дестабилизацией конституции. Эти неоклассические аргументы пересекались с концепцией грехопадения, присутствия постоянной опасности порочных искушений для каждого индивидуума. В то же самое время доводы Филдинга были частично основаны на рассуждениях Д. Локка о разуме как о чистом листе и преобразовании характера через созидательную или разрушительную силу привычек и примеров. Сочетая три дискурса, классический, христианский и научный, Филдинг приходил к выводу, что преступление ставит под угрозу свободу государства как с моральной, так и с политической точки зрения.

Parues en 1740, aussitôt traduites en français et diffusées dans toute l’Europe, ces lettres d’une femme de chambre en butte aux harcèlements de son maître ont inauguré une nouvelle ère dans l’histoire du roman européen. Ce monument n’a pas été réédité en français depuis près de deux siècles., Appearing in 1740, immediately translated into French, and disseminated throughout Europe, these letters from a maid who endures her master’s harassment inaugurated a new era in the history of the European novel. This monumental text has not been republished in France in more than two hundred years.

Resumo Este artigo articula alguns argumentos relativos à função das narrativas historiográfica e romanesca no século XVIII. Sugere-se que elas compartilhavam alguns elementos-chave - notadamente, um mesmo propósito pedagógico-civilizador e um conjunto de dispositivos retóricos comuns - que conformavam o que se poderia chamar de "narrativa filosófica". Seguindo essa premissa, toma-se o "iluminismo britânico" - entendido como um programa político-social letrado, matriz para a produção e a circulação de textos de caráter historiográfico, ensaístico e romanesco no século XVIII - como base para um exame do contexto letrado setecentista e de textos de autores contemporâneos como David Hume e Henry Fielding.

Cet article entreprend l’examen de l’appareil démarcatif de la fiction de Fielding. Le dispositif préfaciel singulier dont témoigne Tom Jones est d’abord analysé, avant que l’étude ne se penche sur l’intitulation de ses chapitres. L’article s’interroge sur la forme que revêtent livre et chapitre dans Tom Jones ainsi que sur leur rapport au temps pour mettre en avant ce qu’il convient d’appeler une poétique du chapitre et de la disposition romanesque. This article undertakes to examine the form of the demarcative system in Fielding’s fiction. The peculiar prefatory devices in Tom Jones are first analyzed before the study moves on to the question of the intitulation of its chapters. This article investigates the form both chapter and book harbor in Tom Jones as well as their relationship to time so as to advance what must be called a poetics of the chapter and of the novelistic disposition.

The eighteenth-century novels of Henry Fielding show striking resemblances with the ancient romances. This article focuses on one such similarity: the motif of apparant death. it explores instances where not only the motif itself but also a number of narrative details (plot lines, situations, results and/or goals) recall passages from specific Greek romances. Fielding's use of ancient fiction is contextualized by comparison/contrast with his famous rival Samuel Richardson, who uses the motif in a significantly different way. Fielding uses the motif to direct the plot or create a certain atmosphere of a scene. He adapts it to his own style and his theme of the human passions.

Recent scholarly work by Jürgen Habermas, Judith Butler, and others posits a new cultural domain that is simultaneously religious and secular. Drawing on the sermons of John Tillotson and the fiction of Henry Fielding, this paper examines literary sentimentalism in this “post-secular” light. It aims to show that sentimentalism affirmed Christian virtues such as charity and chastity, but it radically transmuted and displaced those virtues. In particular, it argues that sentimental fiction imaginatively negotiated the difficulties of practicing Christian virtue in a rapidly changing, commercial society heading into what Charles Taylor has recently called the “immanent frame.” Its heroes and heroines are best understood as virtuous Christians beset by new temptations, misunderstandings, seductions, which they generally, in the end, overcome. In this light, sentimentalism might be defined as a practice of Christian virtue without teleological ends or rewards. The rewards of virtue would appear to become virtual and immanent, available in the act of reading itself. And this is to merge religion with literature so that together they enter the logic of post-secularity.

The mercenary whore is a recurring character-type in Henry Fielding’s plays and early fictions. This thesis examines Fielding’s representations of the sex-worker in relation to popular eighteenth-century discourses surrounding prostitution reform and the so-called ‘woman question’. Fielding routinely confronted, and at times affronted his audience’s sensibilities toward sexuality, and London’s infamous sex-trade was a particularly contentious issue among the moralists, politicians, and religious zealots of his day. As a writer of stage comedy and satirical fiction, Fielding attempted to laugh his audience into a reformed sensibility toward whoredom. He complicates common perceptions of the whore as a diseased, licentious, and irredeemable social other by exposing the folly, fallibility, and ultimate humanity of the modern sex-worker. By investigating three of Fielding’s stage comedies—"The Covent-Garden Tragedy" (1732), "The Modern Husband" (1734), and "Miss Lucy in Town" (1742)—and two of his early prose satires—"Shamela" (1741) and "Joseph Andrews" (1742)—in relation to broader sociocultural concerns and anxieties surrounding prostitution in eighteenth-century Britain, this thesis locates Fielding’s early humanitarian efforts to engender a reformed paradigm of charitable sympathy for fallen women later championed in his work as a justice and magistrate. Thesis Master of Arts (MA)

A preface to the French edition of Henry Fielding's Journal of a Voyage to Lisbon by Nathalie Bernard. The preface describes the context of this journal, written at the end of Fielding's life and published after his death., Préface à l'édition du Journal de Voyage à Lisbonne d'Henry Fielding (1707-1754) par Nathalie Bernard. La préface donne le contexte de ce Journal, écrit à la fin de la vie du grand romancier britannique et publié à titre posthume en 1755.

この論文は「九州工業大学研究報告. 人文・社会科学」（56号,2008.3,p9-24）に掲載された論文を査読により加筆修正し、「研究論文集－教育系・文系の九州地区国立大学間連携論文集－」（第2巻第1号,2008年）に採択されたものである。

Fielding's last work, The Journal of a Voyage to Lisbon (1755), claims to be a faithful and accurate report of the author's own travels to Portugal and to have broken free from the extravagant tales traditionally found in fictional travel narratives such as the Odyssey. As always in the context of Fielding's writings, the classical intertexts from the Greek and Latin literatures reinforce the authority of the writer over his readers, as they show off his superior knowledge and great erudition. Yet in the Journal, Fielding undertakes to demythologize those classical texts by translating the supernatural events which they contain into realistic terms, the epic style being used only for the depiction of ordinary or inferior facts and people. Yet, however subversive it may be in its treatment of Greek and Latin intertexts, The Journal of a Voyage to Lisbon is perhaps not totally devoid of nostalgia for the supernatural and the marvellous., The Journal of a Voyage to Lisbon (1755), dernier ouvrage de Henry Fielding, s'ouvre sur une condamnation des invraisemblances qui parsèment les récits de voyage merveilleux tels que l'Odyssée: l'auteur prétend, lui, relater avec exactitude et fidélité les événements de sa traversée. Comme toujours chez Fielding, mais peut-être plus encore dans un contexte désormais marqué par la maladie et l'exil, les intertextes classiques permettent à l'auteur de montrer son érudition et de faire rimer autorité et auctorialité. Dans ce qui restera son ultime récit, Fielding entreprend une démythification des grands textes grecs et latins: il traduit en termes réalistes et rationnels leurs péripéties merveilleuses, tout en réservant l'emploi du style épique aux événements et personnages médiocres rencontrés au cours de son voyage. On tentera cependant de montrer comment The Journal of a Voyage to Lisbon concilie subversion et nostalgie de l'héritage littéraire classique., Bernard Nathalie. Entre subversion et nostalgie: l'intertextualité grecque et latine dans The Journal of a Voyage to Lisbon de Henry Fielding. In: XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles. N°60, 2005. pp. 187-200.

The Journal of a Voyage to Lisbon, dernier ouvrage de Henry Fielding, est publié à titre posthume en 1755. Ce récit relate la traversée en mer entreprise par l'auteur depuis Londres, où la maladie l'a contraint à abandonner sa fonction officielle de magistrat, jusqu'à Lisbonne, où il décèdera peu de temps après son arrivée. Mais au moment de la rédaction du journal, Fielding n'est pas seulement un homme malade et un magistrat privé de ses fonctions officielles : c'est aussi un écrivain meurtri dont le dernier roman, Amelia, paru à la fin de 1751, a été laminé par la critique. L'auteur ne tarda pas à réagir et annonça en 1752 dans les pages du Covent Garden Journal qu'il renonçait, devant tant d'hostilité, à l'écriture de fiction. The Journal, récit référentiel, historique, illustre le refus farouche de produire une nouvelle oeuvre de fiction romanesque. Si l’on considère l’étymologie du nom commun "auteur", on dira que Fielding abandonne officiellement son statut de romancier, d’auteur / inventeur, pour celui d’auteur / "auctor", "garant" des faits historiques et "conseiller" de la nation. La préface explicite la visée pédagogique d’un texte écrit non plus par le romancier Fielding, mais par le magistrat soucieux de continuer à servir sa nation.Toutefois, le lecteur est en droit de s’interroger : The Journal , s’il manifeste bien dans l’oeuvre de Fielding le renoncement au récit de fiction au profit du récit référentiel, s’accompagne-t-il vraiment d’un changement de statut de l’auteur, non plus inventeur de fiction mais désormais fidèle transcripteur d’événements factuels, réels ? Cette étude se propose de démontrer que le journal de Fielding ne procède pas d’une entreprise visant à établir un compte-rendu fidèle et sincère d’événements factuels : il contribue plutôt à élaborer un mythe personnel en usant, pour décrire les individus rencontrés lors du voyage, d’une caractérisation qui s’inspire largement de sa technique romanesque.

L’expérience de Henry Fielding en tant que magistrat et journaliste a profondément influencé son dernier ouvrage, The Journal of a Voyage to Lisbon. Se sachant condamné par la maladie, le romancier renonça à l’écriture de fiction et produisit un récit historique qui se voulait d’intérêt public et dont le but explicite consistait à réformer les lois relatives au trafic maritime anglais. Les ambitions didactiques revendiquées dans la préface du Journal semblaient distinguer le texte des récits de voyage imaginaires ainsi que des comptes rendus anecdotiques privilégiant les détails du voyage. On peut néanmoins légitimement se demander si les éléments sélectionnés par Fielding servent véritablement le projet didactique affiché. Les très nombreuses références à la nourriture qui émaillent le récit incitent le lecteur à penser que la sélection opérée par Fielding au cours de l’élaboration du Journal relève davantage de ses obsessions personnelles que de l’intérêt public revendiqué par le texte. Fielding’s last work, The Journal of a Voyage to Lisbon, was deeply influenced by the author’s experience as a magistrate and journalist. Knowing that he was dying, the former novelist renounced fiction and produced a historical narrative for the public good, the official purpose of which was to bring about a reform of England’s maritime laws. The didactic ambition claimed in the preface of the Journal seemed to guarantee that the narrative would differ from extravagant travel-books and trivial anecdotes about the minutiae of the journey. Yet one wonders whether the material selected by Fielding really serves the Journal’s purported didacticism. The numerous references to food throughout the narrative lead the reader to consider that Fielding’s selection for the Journal may have more to do with individual obsessions than with the alleged public interest.

Resumo Este artigo articula alguns argumentos relativos à função das narrativas historiográfica e romanesca no século XVIII. Sugere-se que elas compartilhavam alguns elementos-chave - notadamente, um mesmo propósito pedagógico-civilizador e um conjunto de dispositivos retóricos comuns - que conformavam o que se poderia chamar de "narrativa filosófica". Seguindo essa premissa, toma-se o "iluminismo britânico" - entendido como um programa político-social letrado, matriz para a produção e a circulação de textos de caráter historiográfico, ensaístico e romanesco no século XVIII - como base para um exame do contexto letrado setecentista e de textos de autores contemporâneos como David Hume e Henry Fielding.