Henry Fielding The History of Tom Jones A Foundling (Tom Jones) 1749

Requirements:

1. Please, get familiar with the summary of the plot (Contents) and basic issues at: Sparknotes for example.

2. Read thoroughly the following: Book III chpts. 1 - 10, Book VIII chpt. 1, Book XVIII, chpts. 1- 13 (called Chapter the Last).

3. Be able to discuss the following:

1. Henry Fielding places himself as a commentator and observer of the plot - give relevant examples. Be able to give examples of authorial intrusions and creatingthe convention in front of the reader as well as explain how these innovations influence the reception of the book.

2. Define the notion of `comic epic in prose' or `epic novel' on the basis of the book.

3. Fielding's views on good natured people and good nature in general (from the assigned fragments as well as other critical sources).

4. The idea of self-aware or self-consciuos novel: give examples of frequent references to the process of creation (creating a new genre by forwarding s.o. else's story), and composition of the novel (meta-textual comments).

5. Discuss the relationship between the narrator and the reader of Tom Jones. How important is this relationship to the overall impact of the novel?

Samuel Richardson Pamela; or, Virtue Reawarded. 1740

Requirements:

1. Read a brief summary of the novel's plot (internet, for example)

2. Read thoroughly: the title page, preface by the editor, the first 17 letters (ca 20 pages).

Answer the following:

1. What is the aim of the writer in writing the novel?

2. The plot development in the novel suggests affinities with archetypal stories, what are they? Explain similarities.

3. The epistolary form of the novel allowed the writer to make it

a) realistic

b) focus on psychological insight of the heroine

c) arouse sympathy in the reader to the heroine's plight

Can you demonstrate how he achieves the above mentioned (quotes)?

4. Look carefully at the two parts of the first letter - how do they differ?

5. Analyze the roles of Pamela's parents and Mrs Jervis the housekeeper. How would you define these roles?

Laurence Sterne Tristram Shandy 1759

Requirements:

1.Please, get familiar with the summary of the plot and basic issues at: Sparknotes for example.

2.Read thoroughly the following: Vol. I chpts 1,2,3,4,6,7,14,15,19,21,22,24.

Vol II chpts 1,8,11,16,17. Vol III chpts 10,11,14,19, 25.

Vol V chpt 16, Vol VI chpts 37,38,40. Vol VIII chpt 13, Vol IX chpts 17-20.

3.Be able to discuss the following:

a) the theory of associations (I, 1,2)

b) the definition of a hobby-horse (I,7,24,II,1) and its effect upon Walter and Toby Shandy (I,3, V, 16, III, 10,11,14,19; IX, 20)

c) Tristram's method of writing the novel ( I 4,6,22; II , 16,17, III, 25, VI 37, 40)

d)Tristram's treatment of time( II 8, 11, IX 17-20)

e) Tristram the narrator very often addresses his reader, why do you think he does it? Can you quote relevant excerpts?

f) Tristram requires his reader to participate in the creation of the book, e.g VI 38. What other examples can you give to indicate the activation of the reader? Please, have a look at the book as a whole, pay attention to unconventional elements in the novel such as blank pages, black pages, marble pages, dedications in the middle of the text, asterisks, drawings. Try to establish their function in activating the reader?

g) Because of Tristram's belief in association and hobby-horsical nature of human beings he sometimes seems to lose faith in the possibility of communication by means of words. How does he try to overcome this problem? (also II 16,17).

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