Download A Sentimental Journey (Penguin Classics) by Laurence Sterne PDF

By Laurence Sterne

A Sentimental Journey is a singular with no plot, a trip with no vacation spot. It documents the adventures of the amiable Parson Yorick, as he units off on his travels via France and Italy, relishing his encounters with all demeanour of guys and women-particularly the beautiful ones. Sterne's story quickly strikes clear of the narrative of shuttle to turn into a sequence of dramatic sketches, ironic incidents, philosophical musings, recollections, and anecdotes; sharp wit is blended with gaiety, irony with gentle feeling. With A Sentimental Journey, in addition to his masterpiece, Tristram Shandy, Sterne cast a very unique sort and validated himself because the first of the stream-of-consciousness writers.

This new Penguin Classics variation positive aspects an advent that discusses the unconventional on the subject of Sterne's different writing and areas it in the context of "sentimental" literature. additionally integrated are a chronology, feedback for extra studying, and entire explanatory notes.

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Extra info for A Sentimental Journey (Penguin Classics)

Example text

202)37 Bachelard calls our attention, in his own way, to issues we have considered in Nagel and Latour when he recalls a specific image in Henry-Louis Bergson’s Introduction to Metaphysics (La Pensée et le mouvant, 221)—the drawer in a filing cabinet “as an example of a metaphor that hardens and loses even the spontaneousness of the image and effectively stands for ‘dry’ rationalism” (76). indd 16 6/22/2011 4:23:17 PM 17 I N T RO DU C T ION But aside from this idea of a dull rationalism, Bachelard wishes to make an important distinction between image (like the miniature he admires) and metaphor: “Metaphor is related to a psychic being from which it differs [my emphasis].

Chaucer expects a great deal from both his reading or his listening audience for The Nun’s Priest’s Tale: he depends on a heightened sense of plain action within a physical space while asking us to consider the disposition of those events within a textspace laden with cultural expectation. The simple fable itself as Chaucer tells it is a cartographic landmark in the long history of that icon of popular culture both early and late—Reynard the fox. Moreover, this telling dramatizes the idea that the book has become the space of popular culture, supplanting the word of God and His exegetes with the vox populis.

His finite energies might mirror, however dimly, God’s eternal power. It is no wonder, then, that the metaphor of the circle to explain God furnished a steadying principle in the face of scientific questions about the earth’s motion. All the while, the finite imagination might gain or posit a place to consider here (everyday material practice) and there (possibilities of the imaginative spirit) and so gain some relative ground—whether poet, craftsman, scientist, theologian, teacher, parent—or prescient human being.

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