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Stranger than fiction :Wonder and the novel in eighteenth-century Britain.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Stranger than fiction :
其他題名:	Wonder and the novel in eighteenth-century Britain.
作者:	Kareem, Sarah Tindal.
面頁冊數:	330 p.
附註:	Advisers: Leo Damrosch; Robert Kiely; Philip Fisher; Mary Campbell.
附註:	Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1671.
Contained By:	Dissertation Abstracts International64-05A.
標題:	Literature, English.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3091594
ISBN:	0496393030

Stranger than fiction :Wonder and the novel in eighteenth-century Britain.
Kareem, Sarah Tindal.

Stranger than fiction :Wonder and the novel in eighteenth-century Britain. [electronic resource] - 330 p.

Advisers: Leo Damrosch; Robert Kiely; Philip Fisher; Mary Campbell.

Thesis (Ph.D.)--Harvard University, 2003.

"Stranger than Fiction" locates one source of the novel in the tradition of wonder-literature, which chronicled the unfamiliar and extraordinary. I theorize wonder as a reader-response combining credulity and skepticism. The thesis traces the novel's exploitation of wonder in order to illuminate the shift from the early novel's claim that it is "stranger than fiction" to the later novel's acknowledgement of its fictional nature. Throughout the century a reader-response of wonder is commandeered through the invocation of three key figures: the spy, the pilgrim, and the conjurer.

ISBN: 0496393030Subjects--Topical Terms:

212435
Literature, English.

Stranger than fiction :Wonder and the novel in eighteenth-century Britain.
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520 # $a Early eighteenth-century novels by Behn, Haywood, and Defoe provoke wonder by offering readers an embellished version of the "strange but true". The realist novel is exhausted as a vehicle for wonder when it makes explicit its fictional nature. Later in the eighteenth century, the two elements of the wonder-response become split between different genres: gothic fictions appeal to the reader's willing suspension of disbelief, a readerly attitude informed by skepticism, while literary criticism by Smith, Montagu, Akenside, and others stimulate the reader's credulous adoration of the author. My attention to the response of wonder illuminates the novel's evolution from a genre invested in truth claims to one dependent on the reader's "willing suspension of disbelief," within the context of the disciplinary war between the arts and the sciences begun over who has exclusive rights to the experience of wonder.
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