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Laurence Sterne's Tristram Shandy is the most wayward â€" and in some respects the most powerful â€" critique of Locke's theory of knowledge, while his interest in the gulf between biological and clock time makes him a contemporary of Proust and Bergson. In obscuring the fine line between autobiography and fiction, Sterne belongs to the generation of modern writers that includes Joyce and Nabokov. In his deliberate refusal to construct a 'goahead plot' Sterne commends himself to contemporary narratologists. In his concern with personal identity, he anticipates the Derridean stress on 'trace'. In his promiscuous borrowings from past authors, he offers himself as a suitably perverse model for the school of postmodern theory. In his attention to matters of typography and to a visual language, he provides a running commentary on almost every aspect of the relationship between word and image. Himself influenced by Rabelais, Montaigne, Cervantes and Burton, Sterne has influenced writers as diverse as Cabrera Infante, Kundera, Márquez, Rushdie and Beckett. And James Joyce. These influences are traced here by sixteen scholars from Europe and the USA, proof if any were needed that Laurence Sterne today is as rewardingly puzzling as he was in his own century. .

Modernism (Literature) --- Sterne, Laurence,

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Sterne, Laurence, --- Sterne, Laurence --- Sterne, laurence (1713-1768). life and opinions of tristram shandy gentleman

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820 "17" STERNE, LAURENCE --- 82.015.9 --- 82.015.9 Literaire stromingen: postmodernisme --- Literaire stromingen: postmodernisme --- 820 "17" STERNE, LAURENCE Engelse literatuur--18e eeuw. Periode 1700-1799--STERNE, LAURENCE --- Engelse literatuur--18e eeuw. Periode 1700-1799--STERNE, LAURENCE --- Sterne, Laurence

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Pour commencer, un vis-à-vis ouvre l’espace d’une confrontation, d’un face à face, d’une mise en regard. C’est aussi cet objet singulier - voiture à deux sièges se faisant face - qui génère les écarts et impose des rapprochements. C’est enfin cet instrument du voyage et de l’écriture que Sterne fait apparaître, à l’orée du Voyage Sentimental, comme en exergue. Opération de l’écriture, le vis-à-vis appelle une activité de lecture singulière. D’une certaine façon, le lecteur, en ce que sa singularité est exclue par cette machine d’écriture, doit l’affronter. D’une autre, il s’y reconnaît comme partenaire implicite, voire explicite, comme complice. Au détour des conventions et des innovations de ce récit de voyage, au gré des ruptures, des absences et des récurrences, au fil des aveux et des désaveux du personnage d’auteur, se tisse l’interrogation de l’objet littéraire, du projet d’écriture. On pose, ici, le vis-à-vis comme étant, simultanément, l’opération fondatrice de l’écriture de Sterne et l’objet représentatif qui l’autorise et la rythme.

Sentimentalism in literature --- Sterne, Laurence, --- 820 "17" STERNE, LAURENCE --- Engelse literatuur--18e eeuw. Periode 1700-1799--STERNE, LAURENCE --- Sterne, Laurence --- 820 "17" STERNE, LAURENCE Engelse literatuur--18e eeuw. Periode 1700-1799--STERNE, LAURENCE --- Sentimentalism in literature. --- Sterne, Laurence, - 1713-1768 - Sentimental journey through France and Italy --- voyage sentimental --- littérature --- littérature britannique

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Sterne, Laurence --- -Criticism and interpretation --- Sterne, Laurence, --- Yorick, --- Criticism and interpretation. --- Sterne (Laurence). (Mélanges) --- Sterne (Laurence). (Versch. onderwerpen) --- Stʻērn, Lawrēns, --- Stern, Lourens, --- Stern, Lorens, --- Стерн, Лоренс, --- Στερν, Λωρενς, --- Iorik, --- Sterne, --- Sŭtʻŏn, Lorensŭ,