Titlebook: Men of Feeling in Eighteenth-Century Literature; Touching Fiction Alex Wetmore Book 2013 Palgrave Macmillan, a division of Macmillan Publis

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注意

cancellous-bone

陳列

Public/Health,der untrained public, who would not be familiar with the specialized scientific terms and concepts used by the field of medicine, a field that in eighteenth-century Britain was in the midst of unprecedented institutional and commercial expansion.

未完成

dissolution

Afterword,is linguistic bias in criticism all that surprising given that many works of contemporary metafiction, such as Paul Auster’s ., John Fowles’ ., or Thomas King’s ., frequently deploy self-referential practices to explore how language fundamentally shapes history, identity and culture.

Extort

uggled with for years: why are many sentimental novels of the 1700s so pervasively and playfully self-conscious, and why is this self-consciousness so often directed toward the materiality of the printed word?978-1-349-46688-7978-1-137-34634-6

進(jìn)取心

Introductory Matter: Structuring Sensibility in Eighteenth-Century Fiction, things is a set of texts that were all published around the same time: Laurence Sterne’s . (1759–67) and . (1768), Henry Brooke’s . (1766–1770), Tobias Smollett’s . (1771), and Henry Mackenzie’s . (1771). Each of these novels participates in the cultural turn to sensibility by populating their narr

幸福愉悅感

Body/Language,t for scholars (myself included) to conceptualize a world in which it makes sense for sentimentalism and what we would now call ‘metafiction’ to co-exist in the same text. Part of this has to do with the fact that eighteenth-century literature is a product of “an emotional regime that is quite alien

Fluctuate

Feeling/Machines,o language, but also of sentimentalism’s complex relationship to the realm of print. The same strategies of corporeal defamiliarization that call attention to the means by which a language of feeling is impressed upon the skin of the body and the tactile surface of the page also make us recall that