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• W2604557503 abstract "70 ‘‘damn’d clever book.’’ Examining the original printed text as an ‘‘aesthetic object ’’ of graphic and typographic idiosyncrasy , Peter J. de Voogd’s ‘‘Tristram Shandy as Aesthetic Object’’ sees a marriage of word and image. In ‘‘Tristram Shandy and the Wound of Language,’’ Ross King parallels language and the semiotic body in Tristram Shandy, whether in the form of Trim’s expressiveness , Toby’s injury, or the narrator’s chaotic energy. Clark Lawlor’s ‘‘Consuming Time: Narrative and Disease in Tristram Shandy’’ interweaves the metaphor of illness with the function of time in the book. Moving beyond Wolfgang Iser’s landmark study, Helen Ostovich ’s ‘‘Reader as Hobby-horse in Tristram Shandy’’ explores the unique relationship between writer and reader that in turn informs relationships in the book. Melvyn New turns the thencurrent argument for the indeterminateness of Tristram Shandy against itself in his consideration of ‘‘Sterne and the Narrative of Determinateness.’’ Focusing on unusual patterns of language, Jonathan Lamb’s ‘‘Sterne and Irregular Oratory’’ emphasizes the pivotal theme of individual narrative. And Madeleine Descargues, in ‘‘Tristram Shandy and the Appositeness of War,’’ treats the pattern of inherent contradictions and withheld or multiple conclusions of Tristram Shandy as a ruling metaphor with larger implications. Mr. Keymer’s Introduction frames the collection with a selected historical reception recounting seven approaches to Sterne’s text that had developed within fifty years of publication: a parody of a novel (a view disputed by Mr. New in his essay), an exercise in the tradition of learned wit dating to the Renaissance, a by-product of Locke’s philosophy, a response to contemporary issues, an expression of sensibility, a manifesto of ‘‘the ineffability of infinity,’’ and a comic (and sometimes bawdy) gesture. This comprehensive list is slightly distorted by the equal space given the perspectives of sensibility and ineffability; the former clearly was prominent in late eighteenth-century culture, while the latter reigned in the late twentieth century . Mr. Keymer also presents brief, valuable accounts of the birth of Tristram Shandy and the resulting ‘‘conversational dynamic’’ with critics. He summarizes the critical breakthroughs of the last sixty years (John Traugott, John M. Stedmond) with admirable clarity and brevity, particularly New’s reshaping of Sterne studies by interlinking the deliberateness of Tristram Shandy to Sterne’s Anglicanism—and there is the indispensable Florida Edition. It is good to have these essays in one place. W. B. Gerard Auburn University, Montgomery LANA ASFOUR. Laurence Sterne in France. London: Continuum, 2008. Pp. 182. $130. Sterne, a traveler to France in 1762 and 1766, incorporated that travel into his fiction. He wanted a receptive French audience, and his success in cultivating one is apparent not only from his letters (which do not receive much attention here) but also in French notices of his publications during his lifetime (which do). The bulk of the evidence for Sterne’s reception in France is, however, posthumous. None of Sterne’s works was translated until after his death; A Sentimental Journey appeared quickly in translation (1769), 71 while Tristram Shandy had to wait until 1776–1785. Ms. Asfour employs Jauss’s reception theory (defining a cultural ‘‘horizon of expectations’’), and promises to both read Sterne ‘‘in light of early French interpretations ’’ and to describe ‘‘French literary culture between 1760 and 1800 through its responses to and interaction with Sterne and his fiction.’’ Her study fulfills these promises, but is more committed to the ‘‘empirical approach’’ exemplified in the five-page appendix, ‘‘Articles on Sterne in French Periodicals , 1760–1800.’’ In Part I, Ms. Asfour classifies these articles. French responses to Sterne are divided into ‘‘early’’ (mostly pretranslation ) and ‘‘later.’’ The early neoclassical critical framework gives way after 1776 to broader concerns with the novel, sentimentalism, national identity , and questions of taste. Throughout, Sterne’s originality is stressed. Within both, Ms. Asfour creates subdivisions of useful generic and critical categories. Broadly painted, each subdivision is introduced with a shorthand account of an author important to the French conception of the category (Horace for classical decorum; Young for originality; Rousseau for sentimentalism) before responses to Sterne that fall under that category are considered. These helpful brief portraits, however, do a disservice to the weight..." @default.
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• W2604557503 date "2009-01-01" @default.
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• W2604557503 title "Laurence Sterne in France by Lana Asfour" @default.
• W2604557503 doi "https://doi.org/10.1353/scb.2009.0038" @default.
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