The Framework of Fiction: Socio-cultural Approaches to the Novel'...offers thoughtful summaries and critiques of both Marxist...and moralist...theories of the novel in society. The primary focus, however, is on a detailed study of the social context of the novel and the changing relationship between novelists and their readers...' |
From inside the book
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Page 59
... contemporary commentators including the novelists themselves to remark on the fact . For example , in 1741 Samuel Richardson told Aaron Hill that his first work , Pamela , might possibly ' introduce a new species of writing ...
... contemporary commentators including the novelists themselves to remark on the fact . For example , in 1741 Samuel Richardson told Aaron Hill that his first work , Pamela , might possibly ' introduce a new species of writing ...
Page 87
... contemporary , Jane Austen , whose work seems so radically different in form and content . Fiction Becomes a Commercial Product One of the rare contemporary estimates of the size of the reading public before the nineteenth century was ...
... contemporary , Jane Austen , whose work seems so radically different in form and content . Fiction Becomes a Commercial Product One of the rare contemporary estimates of the size of the reading public before the nineteenth century was ...
Page 92
... contemporary Jane Austen wrote : ' Sir Walter Scott has no business to write novels , especially good ones . It is not fair . He has fame and profit enough as a poet and should not be taking bread out of other people's mouths ...
... contemporary Jane Austen wrote : ' Sir Walter Scott has no business to write novels , especially good ones . It is not fair . He has fame and profit enough as a poet and should not be taking bread out of other people's mouths ...
Contents
Theoretical Approaches | 21 |
Defoe and Richardson | 59 |
Varieties of Conservative | 87 |
Copyright | |
4 other sections not shown
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The Framework of Fiction: Socio-cultural Approaches to the Novel John Bull No preview available - 1988 |
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aesthetic allowed appears approach attempt became become Bond called century chapter characters claims concern context conventional course critics culture described detail Dickens Eagleton early economic edition elements English evidence example existence expectations fact fiction figures genre given Hardy hero History idea ideology individual Industry influence interest John later Lawrence Leavis less libraries literary Literature Marxist material method middle middle-class nature novel novelists Oliver origins particular Penguin period political popular possible present pressures production publishers readers readership reading referred reflect regarded relation relationship reprints result role Scott seems sense serial social society socio-cultural Sociology standard structure success suggests theory traditional turn University Press values Victorian volume Waverley women writers written