DOCSLIB.ORG

Universidad De Sevilla CRIMINAL LITERATURE and the RISE of the NOVEL

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universidad De Sevilla CRIMINAL LITERATURE and the RISE of the NOVEL FACULTAD DE FILOLOGÍA DEPARTAMENTO DE LITERATURA INGLESA Y NORTEAMERICANA Universidad de Sevilla TESIS DOCTORAL CRIMINAL LITERATURE AND THE RISE OF THE NOVEL PILAR DE LOS ÁNGELES PEÑA GIL DIRECTORA: DRA. DÑA. MERCEDES SALVADOR BELLO Sevilla, Octubre de 2015 1 2 To the very many who gave me oxygen when I was breathless. With a special thanks to Mercedes and Oisín for their unconditional support. 3 Contents Conventions 6 Introduction 7 Theoretical Aspects 15 1. Defining the Novel …………...………………………………..…………………………………………….. 15 2. The Rise of the English Novel Reconsidered……….…................................................ 28 2.1. The Romance and the Novel. From Clara Reeve to Michael McKeon ……………. 30 2.2. The Eighteenth Century and the Sociological Changes Giving Way to the Rise of the Novel. Ian Watt……………………...……………………………………………………………………..37 2.3. Innovation through Tradition. John Richetti and Lennard Davis. Northrop Frye and the Theory of the Modes …………………………………………………………………………….. 45 2.4. Theories Relating the Rise of the Novel with Criminality and the Broadside Tradition ……………………………………………………………………………………………………………... 50 3. Criminal Literature, a Historical Perspective…..…………………………………………………… 53 3.1. Criminal Writings in the Middle Ages…………………………….….………………………….57 3.2. Robin Hood and the Criminal as a Sympathetic Character………..……………………60 3.3. Chapbooks and Jest-books…………………………………………………………………………….63 3.4. Spanish Picaresque Narrative and Rogue Literature……………………………………...71 3.5. The Rise of a Native Criminal Genre ……………………………………………………...........79 3.5.1. Conny-cathing Pamphlets ………………………………………………………………….80 3.5.2. The Domestic Tragedy………………………………………………………………………..87 3.5.2.1. Drama and Executions……………………………….……………………………………..94 4 3.6. Early Criminal Biographies……………………………………………………………………………101 4. The Eighteenth Century and the Rise of Crime………………………………………………….107 5. The Female Criminal ……………………………………………………………………………………….…115 Text Analysis 122 1. Proto-journalistic and Legal Writings ………………………………….…….........................123 1.1. Ballads and Broadsides …………………..…………………………………….…………….………124 1.2. The pamphlet………………………………………………………………………………………………138 1.3. Old Bailey Session Papers and the Ordinary’s Accounts……………………………..…145 2. From the Gallows to the Stage. Dramatic Works..................................................163 2.1. The Tragedy of Master Arden of Faversham………………………………………………...166 2.2. The Roaring Girl…………………………………………………………………………………………...196 3. Criminal Biographies……………………………………………………………………………………..…213 3.1 Long Meg of Westminster…………………………………………………………………………...213 3.2 Multiple Versions of a Life. The German Princess ………………….……………………222 4. The Fair Jilt……………………………………………………..…………….…….……………………………234 5. Moll Flanders……………………………………………………………………………………………………256 Conclusions 277 Works Cited 288 5 Conventions Due to the length of most of the primary sources titles, they have been named as such in footnotes the first time they are mentioned. In order to avoid an excess of footnotes, the parenthetical citation has been preferred for in-text citation. For a number of reasons—variety of texts, several works by the same author, similarity of some of the titles—the year of the quoted work has been included so as to add clarity. In dramatic works, however, the year has not been incorporated to reduce the length of the in-text citation. For electronic sources, only the URL has been written down in footnotes, since most of the quoted texts belong to two online collections, the Word on the Street, from the National Library of Scotland, and the Proceedings of the Old Bailey. Their references have not been repeated in the Works Cited section. 6 Introduction This project arises after the consideration that in the twenty first century there is still no definite theory on the origins of the English novel in spite of the many attempts that have been carried out to trace them. Such a complex subject has given rise to many studies, with no conclusive hypothesis so far. After comprehensive reading and analysis, I have realised that it is not possible to establish the origins of the English novel as such, since it stemmed from a complex mesh of genres and subgenres. For this reason, the present thesis is going to focus on a particular subgenre of the novel: the one that offers a criminal as a protagonist, which has been given here the name of the criminal novel. There has been necessary to apply a new term to works prior to the rise of crime fiction with Edgar Allan Poe’s "The Murders in the Rue Morgue" (1841), since the novels by Daniel Defoe or Henry Fielding which narrate the story of an offender do not fit into the category of crime fiction. They are precursors, but, at the same time, they are inherently different. The main protagonist is a criminal, who is neither purely a hero nor a villain, but a figure whose main aim is to teach the readership a moral lesson. This subgenre of the early novel presents very limited specimens—mainly limited to the production of Defoe—yet it has a huge repercussion in present day literature and culture in the English language. Since it is a relatively new concept, my first goal is to try to delimit the object of analysis and propose a valid theory of its origins. In order to confirm my theory, I will establish a logical connection between the sociology, history and literature of a crucial time for the development of the novel, the period encompassed between the end of the sixteenth century and the first half of the eighteenth century. Thus, I will try to 7 prove that the criminal novel derives from a native oral and written literature which, even though it was influenced by picaresque narrative, it relies mostly in a long- tradition of criminals’ adventures that permeated the popular British culture. This dissertation intends to shed some light in how such a widely read genre nowadays as it is crime fiction might have unfolded from criminal narrative, from the relationship between criminality and its representation in literature. I have taken Daniel Defoe’s Moll Flanders as the first instance of this type of novel and drawn a line back as to establish the corpus of works as well as the circumstances which exercised an influence on the writer to create such a work. As it will be explained further on, this type of novel is mostly derivative of early forms of journalism, represented by broadsides, pamphlets and other similar documents that spread the news prior to the emergence of the newspaper in the eighteenth century. Nevertheless, fact and fiction are difficult to discern in both novels and their non- literary ancestors as writers’ imagination permeated these proto-journalistic1 documents. Ernest Bernbaum writes that “in the field of journalism, in that of literature, and in the twilight zone between them, we find from the days of Elizabeth 1 Journalism as such does not take place until the eighteenth century. However, it is obvious that before the emergence of the newspaper with the format that we nowadays attribute to it, there were other ways of spreading written information. Even if it is not proper journalism according to today’s standards, it will be referred as such, as proto-journalism or pseudo-journalism. Nevertheless, none of the three terms are really accurate, since the writers did not consider themselves journalists. Besides, the aim was both to inform and entertain at the same time, leaving as much space for true facts as for invented additions. In any case, the different types of documents had to be delimited. To distinguish legal or administrative writings from the ones complying with a more informative nature, the second ones will be referred to as “proto-journalistic” writings. 8 to those of the Georges the flourishing of imposture” (1914: 79).2 Therefore, the fact that Defoe’s production encompasses both news and novels, facts and fiction, is not haphazard. Just as nowadays authors combine their contributions to newspapers with the production of their own fictions, some of the early novelists were hybrid writers, half way between journalists and novelists. Defoe made a very intelligent move, masking his invention as reality. In a world overpopulated by imagined fabrications that claimed to be authentic, it was difficult to sell a “true historie” as a real one. But Defoe managed to succeed with his Moll Flanders, probably because journalistic writings were as tainted of falsehood as his novel was of truth. Thus, the origins of journalism are tightly linked to the origins of the English criminal novel. Therefore, the hypothesis here proposed is that criminal novels sprang from a non-literary source which gradually moved into the literary sphere. These proto-journalistic documents were mostly broadsides, but there were also other types of news and crime-related papers, such as ballads, pamphlets, sermons and court proceedings. Before any novel sprang from their influence, they had already been adapted into literature in a variety of forms, from conny-catching pamphlets to dramatic works, with tragedies and comedies that had a criminal as the main character. For that reason, even if this dissertation is concerned with the origins of the criminal novel, a wide range of texts need to be examined in order to establish a sound theory. But before text analysis is carried out, it is necessary to devote some pages to theoretical aspects, the main one being the attempt to define what a novel is. Thus, 2 Ernest Bernbaum, The Mary Carleton Narratives. 1663-1673. A Missing Chapter in the History of the English Novel.
Load more

Recommended publications
  • A Dictionary of Literary and Thematic Terms, Second Edition
    A DICTIONARY OF Literary and Thematic Terms Second Edition EDWARD QUINN A Dictionary of Literary and Thematic Terms, Second Edition Copyright © 2006 by Edward Quinn All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Quinn, Edward, 1932– A dictionary of literary and thematic terms / Edward Quinn—2nd ed. p. cm. Includes index. ISBN 0-8160-6243-9 (hc : alk. paper) 1. Criticism—Terminology. 2. Literature— Terminology. 3. Literature, Comparative—Themes, motives, etc.—Terminology. 4. English language—Terms and phrases. 5. Literary form—Terminology. I. Title. PN44.5.Q56 2006 803—dc22 2005029826 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can fi nd Facts On File on the World Wide Web at http://www.factsonfi le.com Text design by Sandra Watanabe Cover design by Cathy Rincon Printed in the United States of America MP FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. Contents Preface v Literary and Thematic Terms 1 Index 453 Preface This book offers the student or general reader a guide through the thicket of liter- ary terms.
    [Show full text]
  • Rogues, Vagabonds and Sturdy Beggars, a New Gallery of Tudor
    poofe 3^ebieiusi Rogues, Vagabonds, and Sturdy Beggars: A New Gallery of Tudor and Early Stuart Rogue Literature edited by Arthur F. Kinney; 18 illusfrations by John Lawrence. 328 pp. $18.95, paper University of Massachusetts Press Reviewed by John Mucci. Mr. Mucci is Associate Editor of The Elizabethan Review. On the endless road of popular culture, there has always been a genre of entertainment which supposedly reveals the mysteries of the under­ world. Although whatever insight might be exposed, from the canting jargon to the details of a crime, accuracy seems to take a back seat to satisfying curiosity and a need for sensationalism. Today, there are interesting things to be leamed about ourselves by reading the pecuUar genre of EUzabethan pamphleteering known as rogue literature. Popular with all levels of literate society, these slender books purported to set down the manner by which con artists of all types might abscond with decent peoples' money and goods. Ostensibly written as a public service, to wam and arm society against rogues of all types, in their fascinating variety, they are an Elizabethan version of mob stories, with curious and lurid detail. This interest with the underworld and the seamiest side of life is one which has obvious parallels in modem times, particularly with readers who are most threatened by and distanced from such criminals. This so-caUed practical element of defending the populace against these all-too-prevalent creatures falls to second place against the pleasure ofreading about others who have been hoodwinked by them (and better still, hearing the details about rogues who have been caught in the act and punished).
    [Show full text]
  • Picaresque Translation and the History of the Novel.Pdf
    The Picaresque, Translation and the History of the Novel. José María Pérez Fernández University of Granada 1. Introduction The picaresque as a generic category originates in the Spanish Siglo de Oro, with the two novels that constitute the core of its canon—the anonymous Lazarillo de Tormes (1554) and Mateo Alemán’s Guzmán de Alfarache (1599, 1604). In spite of the fact that definitions of the picaresque are always established upon these Spanish foundations, it has come to be regarded as a transnational phenomenon which also spans different periods and raises important questions about the nature and definition of a literary genre. After its appearance in the Spanish 16th century, picaresque fiction soon spread all over Europe, exerting a particularly important influence during the 17th and 18th centuries in Germany, France and above all England, after which its impact diminished gradually. A study of the picaresque calls for a dynamic, flexible, and open-ended model. When talking about the picaresque we should not countenance it as a solid and coherent whole, but rather as a fluid set of features that had a series of precedents, an important foundational moment in the Spanish 16th and 17th centuries, and then spread out in a non-linear way. It grew instead into a complex web whose heterogeneous components were brought together by the fact that these new varieties of prose fiction were responding to similar cultural, social and economic realities. These new printed artefacts resulted from the demands of readers as consumers and the policies of publishers and printers as producers of marketable goods.
    [Show full text]
  • The Narrator of Don Juan DAVID PARKER
    The Narrator of Don Juan DAVID PARKER S a poet and as a man, Byron was a poseur, every• one agrees, but some of Byron's posturing is more A * interesting than most poets' sincerity, and by no means everyone disapproves of it. Nevertheless, for those like myself who feel that what there is of value in Byron is not to be dissociated from this posturing, there is a problem; not one that immediately affects our enjoyment of the poetry, but one that can ultimately do so, once we start puzzling about meaning: it is often difficult to know who is saying what is said, how seriously, and with what shade of irony, if any. The problem has been complicated by current intellectual fashions. Problems of identity are all the go, and it is tempting to see Byron as a Regency Borges with a passion for masks, as a precursor of exis• tentialism, or as a devotee of the absurd. I think he probably does have some importance in the history of these phenomena, but simply to say that Byron was doing what lots of writers today are trying to do seems to me neither accurate, nor a good way of seeing where he stands in literary history, nor indeed a reason why we should admire what he wrote. One critic who has managed to state the problem, with• out falling into the pedantry encouraged by intellectual fashion, is John Wain.1 Byron's failure to establish his own true identity, he argues, prevented him from having "a fully successful relationship with his poetic imagina• tion." Byron's method, he suggests, was to project an image of himself, "and then let the image do the writing." Because he lacked the confidence to look deeply into his own mind, he fell into the trap of projecting oversimplified images, who wrote oversimplified poetry for him.
    [Show full text]
  • Elizabethan Fiction WS 2020-2021 Prof
    Elizabethan Fiction WS 2020-2021 Prof. Dr. Monika Fludernik [email protected] Office hours: posted on my door Wednesday 10-12 IN PRAESENTIA R 3 | Peterhof START: Wednesday, 4 November 2020 Standard literary histories claim that the novel was invented in the early eighteenth century, usually citing Defoe's Robinson Crusoe as its first instance. However, the Elizabethan period and the seventeenth century already had a large number of prose texts in circulation. Some of these are considered romances, some of them picaresque fiction (also called picaresque novels), some are generically peculiar and cannot be easily fitted into any of the standard categories. We will discuss a few prominent examples of Elizabethan prose narratives, among them John Lily's Euphues, George Gascoignes The Adventures of Master F. J., Thomas Nashe, The Unfortunate Traveller, Thomas Deloneys Jack of Newbury (all included in Salzman's anthology) as well as Sir Philip Sidney's Old Arcadia. Xeroxes will be made available of other texts. We will also read two utopias, More's Utopia and Francis Bacon's New Atlantis. Xeroxes will be made available of other texts. Requirements: active class participation, 5-minute oral report, seminar paper to be handed in by March 29, 2021. Texts to buy: Salzman, Paul (2008) An Anthology of Elizabethan Prose Fiction [1987]. Oxford World's Classics. Oxford: Oxford University Press. Sidney, Philip (2008) The Old Arcadia [1985]. Oxford World's Classics. Oxford: Oxford University Press. Bruce, Susan (2008) Ed. Three Early Modern Utopias: Thomas More: Utopia / Francis Bacon: New Atlantis / Henry Neville: The Isle of Pines [1999].
    [Show full text]
  • A Study of the Dynamic Picaresque Novel
    UNLV Retrospective Theses & Dissertations 1-1-2008 Wayward fictions: A study of the dynamic picaresque novel Tina Ogorek University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Ogorek, Tina, "Wayward fictions: A study of the dynamic picaresque novel" (2008). UNLV Retrospective Theses & Dissertations. 2864. http://dx.doi.org/10.25669/zoff-l51p This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. WAYWARD FICTIONS: A STUDY OF THE DYNAMIC PICARESQUE NOVEL by Tina Ogorek Zwischenpriifung Lehramt Englisch, Spanisch (L 4) (Intermediate Exam English, Spanish Teacher) Humboldt-Universitat zu Berlin 1996 Erste (Wissenschaftliche) Staatspriifung fur das Amt des Studienrats [First (Scientific) Qualifying Examination, State of Berlin] Humboldt-Universitat zu Berlin, Landesamt fur Lehramtspriifungen Berlin 2000 Zweite Staatspriifung fiir das Amt des Studienrats (Second Licensing Examination, State of Berlin) Priifungsamt fiir Lehramtspriifungen Berlin 2004 A dissertation submitted in partial fulfilment of the requirements for the Doctor of Philosophy Degree in English Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas August 2008 UMI N um ber: 3383 9 8 8 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • Elizabethan Houses of Correction Austin Van Der Slice
    Journal of Criminal Law and Criminology Volume 27 Article 4 Issue 1 May-June Summer 1936 Elizabethan Houses of Correction Austin Van der Slice Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Austin Van der Slice, Elizabethan Houses of Correction, 27 Am. Inst. Crim. L. & Criminology 45 (1936-1937) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. ELIZABETHAN HOUSES OF CORRECTION* AusTiN VAN DER SLICEt In 1589 the bench of aldermen of Amsterdam objected to pro- nouncing the usual death sentence for theft on a sixteen year old boy. They urged the burgomaster to find a better way to deal with juvenile offenders. They suggested that they be compelled to labor, to give up their evil habits and amend their lives. Finally it was ordered that a house should be established for the confinement of vagabonds and criminals. Here they should be imprisoned and put to work for as long a time as the magistrates ordered. An old" con- vent was set aside for the purpose and the Amsterdam house of correction was opened, in 1596, with twelve inmates.- We have the regulations for this establishment.2 Their probable date is between 1599 and 1602. From the regulations we find that a board of regents consisting of four burghers met regularly each week to supervise the government of the institution.
    [Show full text]
  • "That Inimitable Art": Magic in Early Modern English Culture Meredith Molly Hand
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 "That Inimitable Art": Magic in Early Modern English Culture Meredith Molly Hand Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES “THAT INIMITABLE ART”: MAGIC IN EARLY MODERN ENGLISH CULTURE By MEREDITH MOLLY HAND A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 The members of the committee approve the dissertation of Meredith Molly Hand defended on March 2, 2009. Bruce Boehrer Professor Directing Dissertation John Corrigan Outside Committee Member Gary Taylor Committee Member Daniel Vitkus Committee Member Nancy Warren Committee Member Approved: Ralph Berry, Chair, Department of English The Graduate School has verified and approved the above-named committee members. ii For Aili and Myrtie, Larry and Raija, Jonathan, and Eric. iii ACKNOWLEDGEMENTS I’ve accumulated numerous debts, personal and professional, while working on this project. First, I must thank Bruce Boehrer, who was all one could ask for in an advisor. I count myself fortunate to have written this dissertation under his supervision; I’ve certainly benefited from his astonishing breadth of knowledge. Gary Taylor, Daniel Vitkus, and Nancy Warren were excellent committee members, and I am grateful to each of them for their generosity in providing feedback at various stages. I owe special thanks to Gary Taylor for inviting me to work as a research assistant on the Oxford Middleton.
    [Show full text]
  • English Language & Literature
    English Language & Literature (ENGLISH) 1 ENGLISH LANGUAGE & LITERATURE (ENGLISH) Courses ENGLISH 100T TOEFL Preparation Credits: 1-3 This course will prepare students to take the TOEFL (Test of English as a Foreign Language), in either the paper-based (PBT) or internet-based (iBT) form, and/or to improve their scores from previous attempts. Exercises focus on developing the skills and strategies necessary for navigating TOEFL questions while continuing to develop the general English language skills that support success on the TOEFL. The course will provide students with a personal awareness of strengths and weaknesses so they may focus their test preparation work in and outside of class. This course carries no credit toward graduation in the College of Arts and Sciences. ENGLISH 110 Introduction to Academic Prose Credits: 3 This course introduces students to college-level reading, writing, and rhetorical analysis. Students will analyze and create texts, focusing on threshold concepts of writing, multiple rhetorical situations, and cultural matters related to writing. Students will also learn to analyze, revise and edit their own work, and use academic documentation. ENGLISH 120 Literary Monstrosities Credits: 3 This course explores representations of monsters in literature. Students are introduced to different ways of thinking about monstrosities from a range of cultural and historical perspectives, as well as through a variety of materials in order to approach this question from an interdisciplinary perspective. ENGLISH 123 True Lives: Autobiographical Arts and Acts Credits: 3 This course explores life writing and other autobiographical practices. Students will read and analyze a variety of life writing forms and think critically about life writing in various cultural, historical, and social contexts.
    [Show full text]
  • Language Living on the Margins and Beyond
    Language living on the margins and beyond A historical pragmatic study of marginal vocabulary use in eighteenth-century English Roxanne But A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield School of English Literature, Language and Linguistics March 2016 Acknowledgements Thank you Susan for being my supervisor and believing in my project. You are one of the few people who can be super professional (you were hard on me at times) and approachable with a soft spot at the same time. Thank you for giving me that extra push, saving me when I couldn’t see the wood for the trees, and looking after me at times when I needed it the most. Your books – currently sitting comfortable at my bookshelf – are eagerly looking forward to the reunion with their respective owner. Thank you to those in the Faculty of Arts and Humanities Executive Board who reviewed my PhD application and offered me a scholarship to do a doctorate. I will never forget that moment when I received your letter. Thank you for offering me this unique and once-in- a-lifetime opportunity that has changed me entirely – both intellectually, and personally. I’m glad that I could embark on this hard, but rewarding journey. Thank you to those members of the academic community within and outside of Sheffield for your intellectual stimulation, conversation and support over the years. Special thanks go to my fellow PhD buddies and office space mates in the School of English. We were all stuck in this ivory tower, not allowed to leave the palace before we completed our challenging task, dreaming of that One Day that would set us free.
    [Show full text]
  • Fi. Sear, the Homeless King
    ao4 Hygiene, t,zvaury, ana nomecessness ~: '(".moo ~ ~ ~ c` ~l C~ h ...For example,she will lie in some Scrivener's house.... The first man that she meek` ~/~~~~. ~'-• ~. `. ~G of her acquaintance shall, without much pulling, get her into a tavern. Out of him shp f~ ~-~, kisses a breakfast and then leaves him.The next she meets does,upon as easy pulleys,t~q- ~' ,~+-v~ im`]r ~ ~ ~ ~--~ tS ~~LcJ ~l her to a tavern again. Out of him she cogs a dinner,and then leaves him"(z47). Thebor ~i rowed clothing,sexual trickery earning no more than a good meal,lodging in a respect°' cv-- . able house,and even the conning of a scrivener bespeak the Edith story. ~~ 7. In the public jollity attending the spectacle of vagrants' being unprisoned atidit~ ~< Il:~~~s P whipped,one recalls that visits to Bedlam were a populaz public entertainment Catrd~ notes that "for many the spectacle ofthe lunatic poor was essenrially comic"(io7); he tee fi. sear, the Homeless King ~ ~ ~~ ~ the visit to "Bethlem Monastery" in L~ekker's The Honest Whore,Partl, where the confit~ ;; mad folic enact "such antic and such pretty lunacies,/That spite ofsorrow they willmai~" !~:; Adequate and permanent shelter is a basic need,and its absence has a you smile" (g.2.i6o-6i). deleterious effect upon physical and mental health, personal 8. In Queen Elizabeth's celebrated remark "I thank God I am endued with such qua~~ -' development, and the ability to exercise individual rights and ities that if I were turned out of the realm in my petticoat I were able to live in arryplaot, obligations.
    [Show full text]
  • Copyright by Nika Šetek 2018
    Copyright by Nika Šetek 2018 The Dissertation Committee for Nika Šetek Certifies that this is the approved version of the following Dissertation: Utopic / Dystopic Mirroring: The Romance and the Picaresque in the Spanish and Russian Traditions Committee: Michael Harney, Supervisor Thomas Garza, Co-Supervisor Madeline Sutherland-Meier Cory Reed Utopic / Dystopic Mirroring: The Romance and the Picaresque in the Spanish and Russian Traditions by Nika Šetek Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2018 Dedication To Rob, my favorite person Acknowledgements It is a pleasure to finally give formal thanks to my dissertation advisors and the members of my committee. Their guidance and support have been invaluable, not only while I worked on this project, but throughout my career at the University of Texas at Austin. Michael Harney has had an undeniable influence on my scholarship, and I am forever thankful for the many hours of conversation, as well as the feedback and encouragement I have received from him over the years. Thomas Garza’s infectious love for all things Russian led me to Russian literature, and without his positivity and his unwavering belief in me, this project would never have happened. Throughout the years, Madeline Sutherland-Meier and Cory Reed were incredibly generous with their advice and with their time, leading me to new ideas and perspectives, and making me feel welcome in the Department of Spanish and Portuguese. I am very grateful to the Program in Comparative Literature, the Department of Spanish and Portuguese, the Department of Slavic and Eurasian Studies, and the Graduate School for supporting my work throughout the years with fellowships and with teaching appointments.
    [Show full text]