Exploring how readers received and responded to literary works in the long eighteenth century, M-C. Newbould focuses on the role played by Laurence Sterne’s fiction and its adaptations. Literary adaptation flourished throughout the eighteenth century, encouraging an interactive relationship between writers, readers, and artists when well-known works were transformed into new forms across a variety of media. Laurence Sterne offers a particularly dynamic subject: the immense interest provoked by The Life and Opinions of Tristram Shandy, Gentleman and A Sentimental Journey through France and Italy inspired an unrivalled number and range of adaptations from their initial publication onwards. In placing her examination of Sterneana within the context of its production, Newbould demonstrates how literary adaptation operates across generic and formal boundaries. She breaks new ground by bringing together several potentially disparate aspects of Sterneana belonging to areas of literary studies that include drama, music, travel writing, sentimental fiction and the visual. Her study is a vital resource for Sterne scholars and for readers generally interested in cultural productivity in this period.

Exploring how readers received and responded to literary works in the long eighteenth century, M-C. Newbould focuses on the role played by Laurence Sterne’s fiction and its adaptations. Literary adaptation flourished throughout the eighteenth century, encouraging an interactive relationship between writers, readers, and artists when well-known works were transformed into new forms across a variety of media. Laurence Sterne offers a particularly dynamic subject: the immense interest provoked by The Life and Opinions of Tristram Shandy, Gentleman and A Sentimental Journey through France and Italy inspired an unrivalled number and range of adaptations from their initial publication onwards. In placing her examination of Sterneana within the context of its production, Newbould demonstrates how literary adaptation operates across generic and formal boundaries. She breaks new ground by bringing together several potentially disparate aspects of Sterneana belonging to areas of literary studies that include drama, music, travel writing, sentimental fiction and the visual. Her study is a vital resource for Sterne scholars and for readers generally interested in cultural productivity in this period.

Laurence Sterne’s A Sentimental Journey through France and Italy continues to be as widely read and admired as upon its first appearance. Deemed more accessible than Sterne’s Life and Opinions of Tristram Shandy, Gentleman, and often assigned as a college text, A Sentimental Journey has received its share of critical attention, but—unlike Tristram Shandy—to date it has not been the subject of a dedicated anthology of critical essays. This volume fills that gap with fresh perspectives on Sterne’s novel that will appeal to students and critics alike. Together with an introduction that situates each essay within A Sentimental Journey’s reception history, and a tailpiece detailing the culmination of Sterne’s career and his death, this volume presents a cohesive approach to this significant text that is simultaneously grounded and revelatory.

Exploring how readers received and responded to literary works in the long eighteenth century, M-C. Newbould focuses on the role played by Laurence Sterne's fiction and its adaptations. Literary adaptation flourished throughout the eighteenth century, encouraging an interactive relationship between writers, readers, and artists when well-known works were transformed into new forms across a variety of media. Laurence Sterne offers a particularly dynamic subject: the immense interest provoked by The Life and Opinions of Tristram Shandy, Gentleman and A Sentimental Journey through France and Italy inspired an unrivalled number and range of adaptations from their initial publication onwards. In placing her examination of Sterneana within the context of its production, Newbould demonstrates how literary adaptation operates across generic and formal boundaries. She breaks new ground by bringing together several potentially disparate aspects of Sterneana belonging to areas of literary studies that include drama, music, travel writing, sentimental fiction and the visual. Her study is a vital resource for Sterne scholars and for readers generally interested in cultural productivity in this period.

Scrutinising Sterne's fiction through a book history lens, Helen Williams creates novel readings of his work based on meticulous examination of its material and bibliographical conditions. Alongside multiple editions and manuscripts of Sterne's own letters and works, a panorama of interdisciplinary sources are explored, including dance manuals, letter-writing handbooks, newspaper advertisements, medical pamphlets and disposable packaging. For the first time, this wealth of previously overlooked material is critically analysed in relation to the design history of Tristram Shandy, conceptualising the eighteenth-century novel as an artefact that developed in close conjunction with other media. In examining the complex interrelation between a period's literature and the print matter of everyday life, this study sheds new light on Sterne and eighteenth-century literature by re-defining the origins of his work and of the eighteenth-century novel more broadly, whilst introducing readers to diverse print cultural forms and their production histories.

Is Laurence Sterne one of the great Christian apologists? Ryan Stark recommends him as such, perhaps to the detriment of the parson's roguish reputation. The book's aim, however, is not to dispel roguishness but rather to discern the theological motives behind Sterne's comic rhetoric, from Tristram Shandy and the sermons to A Sentimental Journey. To this end, Stark reveals a veritable avalanche of biblical themes and allusions to be found in Sterne, often and seemingly awkwardly in the middle of sex jokes, and yet the effect is not to produce irreverence. On the contrary, we find an irreverently reverent apologetic, Stark argues, and a priest who knows how to play gracefully with religious ideas. Through Sterne, in fact, we might rethink humour's role in the service of religion.