The Grotesque Representation of Tristram Shandy through Narrative Theatricality
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
The narrator of Tristram Shandy and the narrative course that he pursues have held a great fascination for readers and scholars alike since the book itself had been introduced to the world and continues to be widely examined and studied. This paper will explore the eccentric nature of the novel’s progression through the “grotesque” angle. After looking into the representations of the“grotesque”that characterized the popular culture of the eighteenth century, we will take a look at how the theatrical aspects of the widely popular grotesque theatre of the English pantomime had influenced Sterne’s narrative representation. In the Augustan age of eighteenth-century England, where a transitional period of the playful rococo towards the neoclassical was taking place, the grotesque took place as an opposing force that went against the predominant classical style of the era, manifested through various popular art forms, not least, popular grotesque theatres. Influenced by these grotesque theatres of his time, Sterne adopted a highly theatrical approach to his writing that accentuates physicality, the representation of bodily movements and gestures, creating a narrative that alternates between the performing stage and the prosaic narrative on the pages.
Abstract
The narrator of Tristram Shandy and the narrative course that he pursues have held a great fascination for readers and scholars alike since the book itself had been introduced to the world and continues to be widely examined and studied. This paper will explore the eccentric nature of the novel’s progression through the “grotesque” angle. After looking into the representations of the“grotesque”that characterized the popular culture of the eighteenth century, we will take a look at how the theatrical aspects of the widely popular grotesque theatre of the English pantomime had influenced Sterne’s narrative representation. In the Augustan age of eighteenth-century England, where a transitional period of the playful rococo towards the neoclassical was taking place, the grotesque took place as an opposing force that went against the predominant classical style of the era, manifested through various popular art forms, not least, popular grotesque theatres. Influenced by these grotesque theatres of his time, Sterne adopted a highly theatrical approach to his writing that accentuates physicality, the representation of bodily movements and gestures, creating a narrative that alternates between the performing stage and the prosaic narrative on the pages.
참고문헌 (15)
- Bakhtin, Mikhail, "Rabelais and His World" (1984), Indiana UP
- Barasch, Frances K, "Grotesque: A Study in Meanings" (1971), Mouton
- Bosch, Rene, "Labyrinth of Digressions" (2007), Rodopi
- Briggs, Peter M, "Laurence Sterne and Literary Celebrity in 1760, In Laurence Sterne’s Tristram Shandy", pp.79~104 (2006), Oxford UP
- Clayborough, Arthur, "The Grotesque in English Literature" (1965), Oxford UP
- Hafter, Ronald, "Garrick and Tristram Shandy", Studies in English Literature, 1500-1900, 7(3), pp.475~489 (1967)
- Harpham, Geoffrey Galt, "On the Grotesque: Strategies of Contradiction in Art and Literature" (1982), Princeton UP
- Holtz, William V, "Image and Immortality" (1970), Brown UP
- Ilie, Paul, "Concepts of the Grotesque before Goya", Studies in Eighteenth-Century Culture, 5, pp.185~201 (1976)
- Iser, Wolfgang, "Tristram Shandy" (1988), Cambridge UP
- O’Brien, John, "Harlequin Britain: Eighteenth-Century Pantomime and the Cultural Location of Entertainments", Theater Journal, 50(4), pp.489~510 (1998)
- Pope, Alexander, "Art of Sinking in Poetry, In The Major Works", pp.195~238 (2008), Oxford UP
- Ruskin, John, "The Stones of Venice" (1960), Hill and Wang
- Shaftesbury, "Anthony, earl of. Characteristicks of Men, Manners, Opinions, Times. Vol.3" (1999), Cambridge UP
- Sterne, Laurence, "Tristram Shandy" (1980), Norton