The Environment Trinstram Shandy and David Copperfield are two fictional protagonists depicted in England, in the 18th and 19th century respectively, that display their life stories through narration that unfold many aspects of humanity and how they, as male figures, came to important realizations in their lives. Through their narration they reveal dramatic realities of their time and how they came about to be the men they have become. David Copperfield, by Charles Dickens', serves as a good illustration of a male figure making his way in the world during the 19th century in England.
Sterne, through his fictional author-character Tristram, defiantly refuses to present events in their proper chronological order. Again and again in the course of the novel Tristram defends his authorial right to move backward and forward in time as he chooses.
He also relies so heavily on digressions that plot elements recede into the background; the novel is full of long essayistic passages remarking on what has transpired or, often, on something else altogether. Tristram claims that his narrative is both digressive and progressive, calling our attention to the way in which his authorial project is being advanced at the very moments when he seems to have wandered farthest afield.
By fracturing the sequence of the stories he tells and interjecting them with chains of associated ideas, memories, and anecdotes, Tristram allows thematic significance to emerge out of surprising juxtapositions between seemingly unrelated events.
The association of ideas is a major theme of the work, however, and not just a structural principle.
Much of the subtlety of the novel comes from the layering of authorial voice that Sterne achieves by making his protagonist the author of his own life story, and then presenting that story as the novel itself.
Yet Sterne sometimes invites the reader to question the opinions and assumptions that Tristram expresses, reminding us that Shandy is not a simple substitute for Sterne.
One of the effects of this technique is to draw the reader into an unusually active and participatory role. Tristram counts on his audience to indulge his idiosyncrasies and verify his opinions; Sterne asks the reader to approach the unfolding narrative with a more discriminating and critical judgment.Thirdly, there is 'Erotical' Sterne, containing New again, with a provocative evocation of Proust, and Juliet McMaster, who in a wonderfully witty essay dismisses the notion that Sterne rather than Walter Shandy is a sexist; Calvin Thomas applies Lacanian theory in a fine close reading, Paula Loscocco shows how Tristram Shandy 'portrays its own.
Laurence Sterne; a collection of critical essays Item Preview remove-circle a collection of critical essays. by Traugott, John, comp. Tristram Shandy and the tradition of learned wit / D.W. Jefferson -- From "Yorick revisited" / W.B.C.
Watkins -- Chronology of . Laurence Sterne's Tristram Shandy is narrated by the title character in a series of digressions and interruptions that purportedly show the "life and opinions" — part of the novel's full title — of Tristram. Composed of nine "Books" originally published between , the novel has more to.
A summary of Overall Analysis and /Themes in Laurence Sterne's Tristram Shandy. Learn exactly what happened in this chapter, scene, or section of Tristram Shandy and what it means.
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The Life and Opinions of Tristram Shandy, Gentleman (or, more briefly, Tristram Shandy) is a novel by Laurence leslutinsduphoenix.com was published in nine volumes, the first two appearing in , and seven others following over the next 10 years.
There is a significant body of critical opinion that argues that Tristram Shandy is better understood as an example of an obsolescent literary tradition of "Learned Wit", Essays in Criticism.
1: The Life and Opinions of Tristram Shandy, Gentleman.