Every man who writes about himself is, on the face of the matter, obnoxious to the suspicion which haunts the daily pathway of the Bore. To talk of self and not be offensive demands an art which is not always given to man. And yet we are always longing to get near each other and to understand each other; and in default of a closer communion with our living fellows we take to our bosoms the shadows of fiction and the stage. If the real man could be presented to us by any writer of his own history we should all hail him with enthusiasm. Pepys, of course, came nearer than anybody else; but this is only because he wrote for his own reading and meant to keep himself a secret. Dickens exquisitely veils and unveils his own personality and career in Copperfield, and scores of smaller writers have done the same thing in fiction to our great pleasure. But to set down boldly, openly, and as a fact for general publication the things of one's own doing, saying, and thinking is an impertinence whose only justification can be found in the public approval. If Pepys had written his Diary for publication he would have been left to oblivion as a driveller. But we surprise the man's secret, we see what he never meant to show us, the peering jackdaw instinct is satisfied; and we feel, besides, a certain sense of humorous pity and affectionate disdain which the man himself, had we known him in life as we know him in his book, could never have excited. Rousseau, to me, is flatly intolerable, because he meant to tell the world what every man should have the decency to hide.
A Portrait of the Artist as a Young Man is the first novel of Irish writer James Joyce. A Kunstlerroman in a modernist style, it traces the intellectual and religio-philosophical awakening of young Stephen Dedalus, a fictional alter ego of Joyce and an allusion to Daedalus, the consummate craftsman of Greek mythology. Stephen questions and rebels against the Catholic and Irish conventions under which he has grown, culminating in his self-exile from Ireland to Europe. The work uses techniques that Joyce developed more fully in Ulysses (1922) and Finnegans Wake (1939). In 1998, the Modern Library named the novel third on its list of the 100 best English-language novels of the 20th century."
Sensibility and Economics in the Novel, 1740-1800 argues that the sentimental novel, usually seen as a 'feminine' genre concentrating exclusively on emotional response, is in fact actively involved in contemporary economic and political debates. Introducing works of economic theory alongside sentimental fiction, Gillian Skinner shows how discourses of sentimentalism are closely related to the developing discourses of economics in the period. Both discourses unite in the representation of the working woman in sentimental fiction, a figure hitherto ignored but vital to understanding the emergence of characters (largely, although not exclusively, female) designed to effect an unprecedented union of sensibility, femininity and economic ability. Spanning the period encompassing the rise, heyday and decline of sentimentalism, the book considers how the trajectory of the movement affected the sentimental novel's treatment of economic issues and their relations to discourses of sensibility and femininity, and assesses the impact of the pressures of the post-Revolutionary 1790s on these areas.
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