• Journal of English Language & Literature
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• v.64 no.1
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• pp.117-133
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• 2018

This article examines Laurence Sterne's Sentimental Journey in the context of eighteenth-century British travel literature. While literary critics generally read Sterne's work as a sentimental novel, contemporary readers initially interpreted the text as a travel narrative. It is my argument that travel writing, particularly the motion entailed in travelling, plays a significant role in Sterne's critical examination of sympathy and its cultural function during this period. By narrating in great detail his narrator Yorick's mobility and the effects it has on his sentimental encounters, Sterne illustrates how sympathy is not only difficult to activate and therefore requires added stimulation in the form of motion, but also does not necessarily result in charitable actions, a moral failure that is dramatized by the literal distance Yorick maintains from the objects of his sympathy. Calling to mind the figurative distance that constitutes an integral part of Adam Smith's formulation of sympathy in The Theory of Moral Sentiments, the distance Yorick establishes through his travels indicates sympathy's failure to bridge the emotional and socioeconomic distance between individuals, thereby highlighting sympathy's limitations as a moral instrument. I argue that by using Yorick's repeated acts of sympathy to explore the problems of sentimentalism, Sterne both draws from and innovates the tradition of employing imaginary voyages to engage in philosophical inquiries.

• English & American cultural studies
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• v.10 no.2
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• pp.209-230
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• 2010

This paper reads Tristram Shandy around the issue of hobbyhorse, Sterne's main contribution to novelistic techniques as well as his insightful understanding of the modern condition. First, Sterne represents his characters according to the principle of hobbyhorse, declaring "I will draw my uncle Toby's character from his HOBBY-HORSE." Gradually distancing himself from the Juvenalian satiric mode as well as Henry Fielding's grand narrative and Samuel Richardson's psychological realism, as is seen in the early episode of Yorick's death, Sterne suggests that the best way to represent his characters lies in describing their hobbyhorses. Sterne's foregrounding of hobbyhorse is linked with his embrace of madness as part of the modern identity. He accepts that hobbyhorse-riding, a quirky and mad habit of mind or behavior, is indispensable for some people, like Uncle Toby, to survive and get along with their otherwise unbearable lives. Uncle Toby's hobbyhorse of waging mock battles in the bowling green saves him from the perplexing real world of language and sexuality, while the fictionality of his hobbyhorsical world is exposed by Widow Wadman. Since a hobbyhorse is by definition a world of private pleasure and eccentricity, sentimentalism comes along to bridge the two virtually incommensurable hobbyhorsical world in place of linguistic communication. Yet if Tristram Shandy fully stages sentimentalism, a cardinal part of hobbyhorse riding, it also offers an awareness of it, which is a significant development in the cult of sentimentalism in the eighteenth century. Tristram Shandy performs a version of sentimental journey where each character rides his hobbyhorse and the reader is invited to ride his/her own hobbyhorse.

• English & American cultural studies
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• v.9 no.1
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• pp.221-237
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• 2009

This paper analyzes the time-shift technique in Joseph Conrad's Lord Jim. Conrad's manipulation of time in this novel is based on his aspiration for how 'to make you see,' which he believes is completed through the harmony form and substance in his works. So Conrad applies this technique which was used earlier by some writers such as Laurence Sterne to his Lord Jim to show its theme more effectively. In Lord Jim, the story consists of two parts; first, Jim jumps from a ship called the Patna and is deprived of his navigation certificate. Secondly, he wins the people's respect in Patusan in which his past related to the Patna remains hidden, but he faces his death by taking responsibility for the death of the chief's son in the island. These events in Lord Jim are not described in chronological order; that is, some events are depicted with the time-shift technique using flashback, association, or fragmentary memory to accelerate the speed of stories as well as to offer the actuality of the events. With this structure, the themes of Jim's story have something to do with his heroic actions and failures. Jim wants to be a hero and after failures he struggles to redeem himself only to fail. In particular, Jim's jump from the Patna is emphasized through the time-shift and it shows there is something incomprehensible in his action. Therefore, Conrad reveals in Lord Jim that Jim is one of us who not only are imperfect but also have the weaknesses inside that can unexpectedly emerge in an instant.