Browsing by Author "McKillop, Alan D."
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Item A century of Defoe criticism, 1731-1831(1952) Kirk, Frankie Jo; McKillop, Alan D.Item A study of the theory and practice of fiction in the Conrad-Ford collaboration(1955) Moore, Patricia Bee; McKillop, Alan D.Item A study of The years as a poetic novel(1958) Mulvihill, John; McKillop, Alan D.Item An analysis of Fanny Burney's Camilla(1960) Eaker, Julia Nancy; McKillop, Alan D.Item An eighteenth century French translation of Joseph Andrews: a comparative study(1951) Read, Katherine Anne; McKillop, Alan D.Item An historical study of the seventeenth and eighteenth century character: with special attention to the "beau"(1952) Hudson, Mary Esther; McKillop, Alan D.Item Burns and the critics: 1786-1832(1960) Preston, Thomas R; McKillop, Alan D.Item Byron's idea of liberty in the poetry of the Childe Harold period(1953) Grobe, Camilla; McKillop, Alan D.Item Classification of the major blank verse poems of the eighteenth century(1951) Delaune, Henry Malcolm; McKillop, Alan D.Item Corresponding methods and ideas in Goldsmith's The Traveller and The Citizen of the World(1965) Harper, Lucile Patricia; McKillop, Alan D.In The Citizen of the World and in The Traveller Goldsmith exercised conscious techniques and was seriously concerned with the expression of a few major ideas. These two works are closely linked through the versatile figure of the traveller which is the basic device in both. In the Chinese Letters it is the cosmopolitan traveller who is able to tell about his journeys through various nations and to report his conclusions concerning these countries; it is the oriental traveller who satirizes the oriental fad of [?] and lends a particularly humorous slant to the satire on the manifestations of national partiality; it is the citizen of the world who can comment on the purposes of literature and the duties of the learned; it is the man who sympathizes with all mankind who can be concerned with the problems of the individual and of the nation; and it is the philosophic wanderer who must continue his travels while retaining a special affection for his family, friends, and homeland. The narrator of The Traveller closely resembles the wanderer of The Citizen of the World. Both profess to be impartial, to have few, or no, preconceived notions, and to be happy anywhere yet nowhere. But in each case there is clearly a discrepancy between the professed cosmopolitan point of view and the particular partiality and concern for England which is revealed. Both hold preconceptions concerning man, life, and government--ideas which remain unchanged in the course of the works and which affect the characters' thinking; and both have local and natural attachments. But their views regarding social, political, and moral questions are founded on a realistic evaluation of history and of contemporary conditions and are at no time sentimental although the characters themselves are feeling and sensitive men who entertain affection for certain individuals as well as a sympathy for all mankind. Through the comments of his travellers, it is not Goldsmith's purpose to condemn passions, feeling, or personal enjoyment, but to urge moderation in all areas of life. Nor is it his aim to extol one nation, one way of life, one class, or one type of government but to show that each may have its good and bad features; and, as each period of individual life has its compensations, so each phase of national development has compensations as well. At the same time, particular emphasis is laid on the necessity of curbing selfish avariciousness and personal ambitions in order to preserve the good of a nation and of its people; and both "the traveller" and "the citizen of the world" are used to convey this message to the English.Item Eighteenth century theories of characterization in prose fiction(1960) Kitchens, Annette LaBauve; McKillop, Alan D.Item Epistolary Technique in Richardson's Novels(Rice University, 1951-04) McKillop, Alan D.; Electronic version made possible with funding from the Rice Historical Society and Thomas R. Williams, Ph.D., class of 2000.Item Fielding and the perception of true merit(1961) Marshall, Geoffrey; McKillop, Alan D.Item Five prominent eighteenth-century grand tourists: a comparative study(1952) Weisler, Norman H; McKillop, Alan D.Item Imagery in Browning's The ring and the book(1958) Schulze, Mary Margaret; McKillop, Alan D.Item James Thomson's tragedies and the new opposition to Walpole(1960) Burkett, Tommy Ray; McKillop, Alan D.Item King Alfred in eighteenth century literature(1950) Henderson, Ruth Bybee; McKillop, Alan D.Item Limits of comedy in eighteenth-century prose fiction: a study of 3 works(1965) Black, John David; McKillop, Alan D.This thesis explores the nature of Comedy, concentrating on the work of three eighteenth-century writers, Fielding, Sterne, and Swift. It is concerned with what might be called the centrifugal movement of comedy (there is also centripetal comedy), with heavy emphasis on the endings of three works. The first section, on Joseph Andrews, investigates that moral comedy which removes the masks from the self-deceived in society, the second section, on A Sentimental Journey, investigates comedy through the self-deception of the narrator, and the third, on Gulliver's Travels, the comedy of "the discrepancy between man's true nature and his pridefully self-deceived affectations of grandeur." The purpose of this examination is to test the limits of comedy, that is, to see at what points given comic works tend to go over into mere purposeless laughter or, in another direction, into non-humorous criticism. These are the lower limits of farce and invective. As an upper limit to comedy, there is joy or ecstasy. In another scale, or continuum, the limits are the breakdown of communication with the reader and the movement into tragedy. It is hoped that through the empirical analysis of three quite different comic works, one may arrive at a clearer conception of the nature of comedy itself. If one can mark the points at which the comic becomes clearly something else, one may hope to delimit the mode, to set up the geometrical points (as it were) that establish its boundaries, its configuration.Item Novel into play: the influence of Richardson, Fielding, Smollett and Sterne upon the later English drama(1962) Wilson, J. Stuart; McKillop, Alan D.The transformation of novels into plays and films . has become so commonplace a practice during the twentieth century that the critical problem involved in the Change of one literary form into another tends to be minimized. More often than not, a play is judged by the standards of the novel from which it was drawn. The fallacy in this approach becomes obvious, however, when it is considered that the two types are ultimately antagonistic: the fundamental appeal of drama to the sense of perception and of the novel to the power of conception . has brought into existence literary forms which in their totality are incompatible. Thus an aesthetically satisfying, translation from one form into the other can only result if the writer carefully modifies his materials according to the requirements of the genre in which he has chosen to work. The critical issue posed by the generic distinctions between novel and play is essentially timeless; when considered in the historical context of the period in which . it first arose to prominence, it illuminates the impact of the major eighteenth century novels upon the later English drama. In fact, the outstanding plays performed after 1760 depend less on earlier dramatic traditions than on the more vital traditions originating with the new and immensely popular prose fiction of Richardson, Fielding, Smollett, and Sterne. Almost immediately after its first publication, Richardson's Pamela was adapted for the stage, and within twenty-five years, his novels had supplanted the earlier drama as the primary source . for the most popular plays. In addition to plots, characters, and themes, Richardson's development in Pamela) Clarissa, and Sir Charles Grandison of the bourgeois Court of Love, with its elaborate rituals of courtship and marriage, provided the dramatists with precisely the vehicle they needed for expression of the increasingly popular doctrines of benevolence. The plays of William Whitehead, Frances Sheridan, Elizabeth Griffith, and Hugh Kelly, often called "sentimental" drama are more properly defined as Richardsonian ritual comedy, and during the 1760's this comic mode predominated on the English stage. But very soon it was challenged for supremacy by another mode deriving from the comic novels of Fielding, Smollett, and Sterne. A comic novel tradition in drama emerged primarily from the plays of Arthur Murphy, George Colman, and Samuel Foote to receive its consummate expression in the comedies of Oliver Goldsmith and Richard Brinsley Sheridan. In defining the function of literature, Goldsmith turned to Fieldlng.for the ethical structure that informs his comedy . and satire, while Sheridan went first to.Smollett for the inspiration of The Rivals, and then for the greatest play of the peribd, The Sdhobl for Scandal (1777), he transformed Tom Jones into the most perfect dramatic version of any eighteenth century novel. Goldsmith and Sheridan together brought the comic novel tradition in drama to the fore, and the ensuing conflict between 'laughing' and 'weeping' comedy is rightly seen as a new statement of the antagonism existing between Pamela and Fielding's Shamela and Joseph Andrews, or between Clarissn and Tom Jones. After The School for Scandal, the comic hovel tradition retained its position of dominance on the stage in the plays of Richard Cumberland, Hannah Cowley, Thomas Holcroft, and Frederick Reynolds, among others, but in . the fourth quarter of the century it was considerably modified by infusions of pathos largely inspired by Sterne, and by the increasingly popular comic mode known as amiable humor. During' the last decade of the century, audience demand for spectacle, melodrama, and the thrills of Gothicism caused the dramatic traditions of Richardson and the comic novelists to dissipate. Nevertheless, the dependence of the drama upon other literary types continued, becoming even more widespread during the nineteenth century, and not until the artistic integrity of the form was asserted in the plays of Pinero and Shaw did, the drama emerge from its long period of obeisance to prose fiction. •Item The Context of Sense and Sensibility(Rice University, 1957-04) McKillop, Alan D.; Electronic version made possible with funding from the Rice Historical Society and Thomas R. Williams, Ph.D., class of 2000.