The author charts the interaction between self and world through four major phases whereby the self initially has marginal status (the picaresque), begins to flourish and court recognition (Defoe, Marivaux, and Fielding), glows defiant and tries to impose its will on society and the other (Prevost, Richardson, Goethe, and Laclos), and finally makes a prophetic inward turn (Diderot, Sterne, and Rousseau). He shows how these phases also reflect the development of literature as it moves from mimetic to generative fiction, from the power of gesture to that of word. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The English novel written between 1700 and 1740 remains a comparatively neglected area. In addition to Daniel Defoe, whose Robinson Crusoe and Moll Flanders are landmarks in the history of English fiction, many other authors were at work. These included such women as Penelope Aubin, Jane Barker, Mary Davys, and Eliza Haywood, who made a considerable contribution to widening the range of emotional responses in fiction. These authors, and many others, continued writing in the genres inherited from the previous century, such as criminal biographies, the Utopian novel, the science fictional voyage, and the epistolary novel. This annotated bibliography includes entries for these works and for critical materials pertinent to them. The volume first seeks to establish the existing studies of the era, along with anthologies. It then provides entries for a wide-ranging selection of works which cover fictional, theoretical, historical, political, and cultural topics, to provide a comprehensive background to the unfolding and understanding of prose fiction in the early 18th century. This is followed by an alphabetical listing of novels, their editions, and any critical material available on each. The next section provides a chronological record of significant and enduring works of fiction composed or translated in this period. The volume concludes with extensive indexes.

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Why have scholars located the emergence of the novel in eighteenth-century England? What historical forces and stylistic developments helped to turn a disreputable type of writing into an eminent literary form? This Reader's Guide explores the key critical debates and theories about the rising novel, from eighteenth-century assessments through to present day concerns. Nicholas Seager: - Surveys major criticism on authors such as Aphra Behn, Daniel Defoe, Samuel Richardson, Henry Fielding and Jane Austen - Covers a range of critical approaches and topics including feminism, historicism, postcolonialism and print culture - Demonstrates how critical work is interrelated, allowing readers to discern trends in the critical conversation. Approachable and stimulating, this is an invaluable introduction for anyone studying the origins of the novel and the surrounding body of scholarship.

"A clear and straightforward discussion of the ways in which literatures and their comparative study must depend upon the problematics of interpersonal and other relations. . . . This study will prove as useful as it is wide-ranging, and indeed, comparative in the good sense."--Mary Ann Caws, Graduate School, City University of New York "Here is a comparatist working at the peak of his powers. . . . Weinstein moves easily from Goethe and Flaubert to Kafka or Joyce or Boris Vian. Locating fictions of relationship `at the heart of both literary criticism and human affairs' and acknowledging his own `distinctly humanistic' concerns, Weinstein writes in an urgent tone and eloquent voice, inflecting the theme of `relationship' in every way: in its surrender to the erotic, its frenzied drive for control of the Other, in its ability to confer identity or eclipse difference. . . . When he couples texts (e.g., William Burrough's Naked Lunch and C. de Laclos's Les liaisons dangereuses), he takes risks that bear brilliant fruit. Exploring famous texts and relatively unknown ones, Weinstein infuses the traditional study of fiction with new energy."--Choice Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Exiled to the margins of society and surviving by his wits in the course of his wanderings, the picaro marks a sharp contrast to the high-born characters on whom previous Spanish literature had focused. In this illuminating book, Peter N. Dunn offers a fresh view of the gamut of sixteenth- and seventeenth-century Spanish picaresque fiction.

Thomas Mann predicted that no manner or mode in literature would be so typical or so pervasive in the twentieth century as the grotesque. Assuredly he was correct. The subjects and methods of our comic literature (and much of our other literature) are regularly disturbing and often repulsive—no laughing matter. In this ambitious study, John R. Clark seeks to elucidate the major tactics and topics deployed in modern literary dark humor. In Part I he explores the satiric strategies of authors of the grotesque, strategies that undercut conventional usage and form: the de-basement of heroes, the denigration of language and style, the disruption of normative narrative technique, and even the debunking of authors themselves. Part II surveys major recurrent themes of grotesquerie: tedium, scatology, cannibalism, dystopia, and Armageddon or the end of the world. Clearly the literature of the grotesque is obtrusive and ugly, its effect morbid and disquieting—and deliberately meant to be so. Grotesque literature may be unpleasant, but it is patently insightful. Indeed, as Clark shows, all of the strategies and topics employed by this literature stem from age-old and spirited traditions. Critics have complained about this grim satiric literature, asserting that it is dank, cheerless, unsavory, and negative. But such an interpretation is far too simplistic. On the contrary, as Clark demonstrates, such grotesque writing, in its power and its prevalence in the past and present, is in fact conventional, controlled, imaginative, and vigorous—no mean achievements for any body of art.