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The history of Romanies in England during the eighteenth century has been largely neglected by existing historical scholarship. Yet, the Romani experience of and in London had a notable impact on the capital's culture and the ways in which Romanies or ‘Gypsies’ would be portrayed for years to come. This article explores how, in the early part of the century, the Romani settlement at Norwood in south London enabled interaction and integration between Londoners and their Romani neighbours. During the second half of the century, Norwood was enclosed, and interactions between Romanies and south Londoners diminished. What remained was an experience of Romani culture drawn primarily not through interactions with an established Romani population, but from a stereotypical ‘Cultural Gypsy’ that was portrayed in literature and on stage. [ABSTRACT FROM AUTHOR]

Resumo O presente artigo visa aproximar os autores Henry Fielding e Machado de Assis a partir dos seguintes pontos de contato: o manejo sofisticado da forma do romance, a mistura de gêneros e estilos, a problematização da ideia de autoria e a importância do teatro como forma literária e visão de mundo. Por meio da análise e do comentário de excertos das obras Joseph Andrews (1742) e Tom Jones (1749), de Fielding, e Os deuses de casaca (1866) e Quincas Borba (1891), de Machado, busca-se delinear uma análise comparada que resgate o nome de Henry Fielding como uma referência crucial para a crítica machadiana, sobretudo a partir da forma épico-cômica.

Although Ian Watt's treatment of "the rise of the novel" has been ascribed to aspects of World War II and the Cold War, many of his critical attitudes are borrowed from the Victorian critic Leslie Stephen. This is especially true of his handling of Daniel Defoe's Moll Flanders and the notion of Defoe as an inadequate, at best "unconscious," artist. Stephen's contempt for Defoe's background as a tradesman went into his arguments that the realism of his fiction was of an inferior kind. Without accepting Stephen's contempt for trade, Watt seemed to accept many of Stephen's conclusions. Watt's admiration for Samuel Richardson's psychological depth over Henry Fielding's reality of "assessment" may seem contrary to Stephen's admiration for Fielding's "manliness," but Watt borrowed much from Stephen's approach to fiction. [ABSTRACT FROM AUTHOR]

Narrative struggles in the eighteenth-century English novel can be traced to the allocation of narrative space to a multiplicity of characters. The narrative positioning of the servant comes to embody the anxieties of the author and of the age. As servants are associated with the transmission of stories with varying degrees of reliability, they easily turn into stand-ins for authorial performance, especially in eighteenth-century novels, where the performance of reliability is a crucial aspect of authorial selffashioning. Servants make up a large portion of the reading public in the period and their desire for upward social mobility inevitably finds both narrative and characterological representation. However, as exemplified by the “Pamela controversy,” famously sparked by Samuel Richardson’s novel, open depictions of the possibility of social mobility also engendered unease. This article studies the allocation of narrative space to servants in three novels: Samuel Richardson’s Pamela is an epistolary novel narrated by the letters of a servant character. Therefore, the servant character is established as the center of narrative attention; however, it is this very centrality that unsettles her position and turns her into a figure in “service” of the novel’s moral purpose. Henry Fielding’s Joseph Andrews presents a more convoluted struggle over the claiming of narrative space since Joseph’s ambivalent release from the servant position is continuously challenged by other servants. Finally, servants in Laurence Sterne’s Tristram Shandy are situated at the margins of narrative space as parodical embodiments of the desire to rise to the level of narrative and public visibility. [ABSTRACT FROM AUTHOR]

Oliver Twist, el huérfano más célebre de la literatura, hizo su aparición en las páginas de Bentley’s Miscellany en febrero de 1837. Desde entonces, su historia ha figurado en todo tipo de medios textuales y audiovisuales, de suerte que la imagen del infante de familia desconocida, cuya inocencia le lleva a triunfar ante la injusticia social que lo asedia, guarda una relación indisoluble con la obra de Charles Dickens. El linaje diegético del expósito Oliver se descubre en las páginas finales de la novela que lleva su nombre. Su genealogía artístico-literaria, sin embargo, es un secreto a voces que inspira personajes peculiares y una estructura narrativa basada en coincidencias y revelaciones. En este artículo se exploran algunas de las conexiones más relevantes entre Oliver Twist y las narrativas dieciochescas que le antecedieron. En específico, se atienden los legados de las novelas de Henry Fielding y las narrativas visuales de William Hogarth, los cuales fueron determinantes no sólo en la representación tragicómica de las clases bajas —como se ha llegado a sugerir— sino también en la concepción del protagonista, la caracterización de personajes secundarios y el diseño de la trama principal.

As the Narrator in Henry Fielding's Joseph Andrews (1742) explains: "Those little Spaces between our Chapters may be looked upon as an Inn or Resting-Place." An inn is a prepositional sort of building: it is between here and there; one travels to or from it; it links villages and towns and cities; it is on the road and on the way. Inns became increasingly important in seventeenth- and eighteenth-century landscapes, depending commercially on their architectural uniqueness, even eccentricity. This essay examines the ways in which Fielding's textual structures borrow the architectural as well as syntactical grammar of inns as part of a distinctly modern effort (in the words of the landscape gardener John Claudius Loudon) to "form new combinations on every movement of the spectator" (1806). From chapter headings, tables of contents, and spatial descriptions, on the one hand, to the shapes of syntax, paragraph, and plot, on the other, Fielding's novels generate fresh perspectives from the act of reading. [ABSTRACT FROM AUTHOR]

This article provides an overview of studies of Henry and Sarah Fielding since the 2010s, with occasional discussion of earlier sources. These years have given pronounced attention to the Fieldings' responses to material and intellectual contexts: economic, political, and religious crises; empiricist epistemology and science; Lockean theories of education; discourses on gender and sexuality; and the dynamics of the public sphere. Work on aesthetics has reassessed the Fieldings' handling of satire and their attitudes towards both national and international genres. I identify zones of growing consensus as well as persistent disagreement, and I close by noting two unresolved attribution problems and calling for more work on Sarah's influence on Henry. [ABSTRACT FROM AUTHOR]

This short essay is an experiment in narrative history. It explores the convergence of narrative tense and commentary tense, the role of 'history' in Henry Fielding's novels, the nature of empathy by historians towards past actors through their memoirs, some ideas of moral philosophy, some ideas about what history is, and a couple of other matters. The essay is followed by a brief explanation of the experiment. [ABSTRACT FROM AUTHOR]

The frequently used unreliable narration in eighteenth-century English fictions was closely related to the complex cultural context of that period. As a newly emerged narrative style, fiction has not separated itself from romance and history. The fusion of old and new values and the vague self-positioning of fiction jointly resulted in the unreliability in its narrative style. This paper analyzes the interactive influence between the phenomenon of narrative unreliability and the cultural restructuring in three dimensions, in order to explore unreliable narration from the perspectives of culture and history. [ABSTRACT FROM AUTHOR]

This article explores the relationship between literary fiction and sexual knowledge in late-Victorian Britain, arguing that far from existing in a simply contextual relationship to the making and consumption of the period's literature, late-Victorian polemics about sexual knowledge were refracted in the content and narrative form of popular fiction. Despite the volume and diversity of Victorian publications offering sexual information and advice, historic states of knowledge remain a subject of conjecture. Focusing on Thomas Hardy's Tess of the d'Urbervilles (1891) and Sarah Grand's The Heavenly Twins (1893), two bestselling novels with heroines who occupy the "borderland" between child- and adulthood, this discussion considers how writers of fiction respond to issues of sexual epistemology in their plots and narrative methods. Hardy's novel is informed by a radical endorsement of sexual knowledge, while Grand's work is characterized by a more careful consideration of how sexual information should be communicated. [ABSTRACT FROM AUTHOR]

Copyright of Annali d'Italianistica is the property of Annali d'Italianistica, Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Henry Fielding(1707-1754) was playwright, journalist, reforming magistrate, and the inventor of the comic novel in English. Out of Fielding’s practice of literature and law there emerges the concept of society as a complex, interdependent totality.

This article argues that in both Joseph Andrews (1742) and Tom Jones (1749), Henry Fielding, who practiced law and wrote novels when both were undergoing significant transformations, takes what could have been archetypal scenes of rape and rescue and makes them illuminating explorations of how juries determine the truth. In presenting these attempted rape scenes within the implicit format of a contemporary rape trial, Fielding directs the reader to observe the missteps in the process of judicial decision-making, as well as the steps and missteps in his or her own determination of the trustworthiness of characters and their testimony. [ABSTRACT FROM AUTHOR]

Jefferson's 'retirement' at Monticello – built, exceptionally for a Virginia plantation house, on top of a mountain – provided the requisite audience for a carefully fashioned self‐image. Its inspiration lay in classical descriptions of country living and mountain‐top villas, which had been appropriated by eighteenth‐century polite literature as part of the imaginary of the British landed gentleman. Although conceived as part of a process of righteous self‐distancing from Europe, Jefferson's retirement nevertheless situated him in a cosmopolitan, elite and genteel company, a fact that complicated his quest to meet republican ideals. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudos Historicos is the property of Fundacao Getulio Vargas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The self-conscious narrator of Fielding’s Tom Jones successively compares himself to a restaurateur, a law-maker, a historian, a literary connoisseur (if not a critic…), an inventor, a soothsayer, a scholar, a traveller, etc. At no stage in the book does he explicitly compare himself to a musician or to an orchestrator. And yet, the novel abounds in the depiction of various noises and sounds, whether they be the result of the notorious rows and tantrums of some of the most colourful characters, or the expression of divine and earthly harmony. One of the purposes of this paper is precisely to explore the functions of the many references to sound, noise and music that pervade Fielding’s novel, from Squire Western’s addiction to the hunting sounds and popular songs of country life to Mrs Western’s fascination for opera and oratorio, via sweet’s Sophia’s demure and soothing harpsichord-playing. Another area of investigation is the way Joseph Reed’s dramatic and musical adaptation transposes some of the musical issues raised in Fielding’s novel. In introducing into his operatic work a reflexive discourse on the very genre his staged adaptation belongs to, Reed surprisingly recycles Fielding’s own treatment of noises and sounds.

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The British novel's history is partly one of discovering the child. Novels of the 1720s depict neglected or abandoned children as a backdrop for adventure and scandal. Three mid-century novels illustrate the growing interest in generational thinking (a concern for children's welfare and future). In Richardson's Clarissa, the Harlowes' rigid authority blinds them from 'recognising', in Ricoeur's sense, Clarissa. In Tom Jones, Fielding shows a deep interest in generational thinking, which guides even Bridget Allworthy, in spite of her other hypocrisies. In Haywood's Betsy Thoughtless, Betsy faces constant moral risk because her surrogate parents ignore or misperceive her developmental needs. [ABSTRACT FROM AUTHOR]

The productive relationship between translation and illustration exemplified in the eighteenth-century novel has, until recently, been almost completely ignored. A number of modern studies have identified the importance of illustration in the rise of the novel, considering the significance of its interaction with texts of the eighteenth century. However, there has been little evaluation of illustration in relation to the circulation of works from one country to another, or of the role it might play in the process of translation. Through several case studies and in particular Gravelot's plates for Tom Jones (1750) and La Nouvelle Héloïse (1761), this article explores the complex relationships between translating and illustrating literature in the Enlightenment, asking three questions: What does it mean to illustrate a translation? Can one translate an illustration? Is an illustrator himself a translator? [ABSTRACT FROM AUTHOR]

This article proposes a solution to the vexed question of the authorship of a famous eighteenth-century hoax. We can be certain that Theophilus Cibber was not the author of his purportedApology. But who was? Henry Fielding has always been a main suspect, and it must have delighted Joel Schechter to discover evidence supporting the claims for his share in the authorship. Hoaxes, though, are perilous territory. Who, exactly, is the hoaxer, and who is being hoaxed? Never printed before, the letters introduced here reveal that Henry Fielding and James Ralph co-authored a counterfeit autobiography of actor Theophilus Cibber. The book they wrote and attributed to ‘Mr. T……… C……’ contains satiric criticism of theatre censorship, cartels and Colley Cibber’s autobiography. [ABSTRACT FROM AUTHOR]

This paper tries to tackle the problem of Henry Fielding's female characters by analyzing Lady Bellaston, one of the most interesting characters in Tom Jones, through a feminist grid. The second problem this paper deals with is Fielding's own relation to feminist claims and the extent to which he presaged feminism, in general, and the feminism of his century, in particular, taking into account that Mary Wollstonecraft's A Vindication of the Rights of Woman (1792) was published almost half a century after Fielding's death ( 1754). [ABSTRACT FROM AUTHOR]

This article explores the nature of Brecht's collaboration with some eighteenth-century British writers and argues for the timeliness of a revival of interest in styles of political satire that this peculiar collaboration highlights. [ABSTRACT FROM AUTHOR]

This article proposes that Charlotte Charke's lost play, Tit for Tat, may have been her own pirated version of Henry Fielding's The Covent-Garden Tragedy. [ABSTRACT FROM AUTHOR]

The article presents information on the protection of copyright and the copyright law during the eighteenth century with respect to the literary texts and the writings by the copyright polemicists. The protection of copyright law includes the protection of property and real estate. Information on the protection of copyright is also presented with reference to a quotation and a phrase by author Henry Fielding.

A literary criticism is presented for the book "Tom Jones," a novel by Henry Fielding. The concept of epiphany in 18th century literature is noted. A passage from the novel's prison scene is discussed in a paradigm of heroic or spiritual quest in the character's narrative journey which results in a thematic climax. An overview of the story is given as part of the discussion.