An archaeology of sympathy : the sentimental mode in literature and cinema

In the middle of the eighteenth century, something new made itself felt in European culture—a tone or style that came to be called the sentimental. The sentimental mode went on to shape not just literature, art, music, and cinema, but people’s very structures of feeling, their ways of doing and being.In what is sure to become a critical classic, __An Archaeology of Sympathy__ challenges Sergei Eisenstein’s influential account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries. James Chandler begins with a look at Frank Capra and the Capraesque in American public life, then digs back to the eighteenth century to examine the sentimental substratum underlying Dickens and early cinema alike. With this surprising move, he reveals how literary spectatorship in the eighteenth century anticipated classic Hollywood films such as Capra’s __It Happened One Night__, __Mr. Deeds Goes to Town__, and __It’s a Wonderful Life__. Chandler then moves forward to romanticism and modernism—two cultural movements often seen as defined by their rejection of the sentimental—examining how authors like Mary Shelley, Joseph Conrad, James Joyce, and Virginia Woolf actually engaged with sentimental forms and themes in ways that left a mark on their work.Reaching from Laurence Sterne to the Coen brothers, __An Archaeology of Sympathy__ casts new light on the long eighteenth century and the novelistic forebears of cinema and our modern world. In The Middle Of The Eighteenth Century, Something New Made Itself Felt In European Culture -- A Tone Or Style That Came To Be Called The Sentimental. The Sentimental Mode Went On To Shape Not Just Literature, Art, Music, And Cinema, But People{u2019}s Very Structures Of Feeling, Their Ways Of Doing And Being. In What Is Sure To Become A Critical Classic, An Archaeology Of Sympathy Challenges Sergei Eisenstein{u2019}s Influential Account Of Dickens And Early American Film By Tracing The Unexpected History And Intricate Strategies Of The Sentimental Mode And Showing How It Has Been Reimagined Over The Past Three Centuries. James Chandler Begins With A Look At Frank Capra And The Capraesque In American Public Life, Then Digs Back To The Eighteenth Century To Examine The Sentimental Substratum Underlying Dickens And Early Cinema Alike. With This Surprising Move, He Reveals How Literary Spectatorship In The Eighteenth Century Anticipated Classic Hollywood Films Such As Capra{u2019}s It Happened One Night, Mr. Deeds Goes To Town, And It{u2019}s A Wonderful Life. Chandler Then Moves Forward To Romanticism And Modernism -- Two Cultural Movements Often Seen As Defined By Their Rejection Of The Sentimental -- Examining How Authors Like Mary Shelley, Joseph Conrad, James Joyce, And Virginia Woolf Actually Engaged With Sentimental Forms And Themes In Ways That Left A Mark On Their Work. Reaching From Laurence Sterne To The Coen Brothers, An Archaeology Of Sympathy Casts New Light On The Long Eighteenth Century And The Novelistic Forebears Of Cinema And Our Modern World.--from The Dust-jacket Front Flap. The Capraesque. Capra's America ; Capra Remakes Capra ; Cinema As A Medium Of Sentiment -- The Making Of Literary Sentimentalism. The Case Of The Literary Spectator ; Sentimental Journeys, Vehicular States ; The Emergence Of Sentimental Probability ; Sentimental Monstrosity -- Against Sentiment. Romanticism ; Modernism. James Chandler. Includes Bibliographical References And Index. In the middle of the eighteenth century, something new made itself felt in European culture—a tone or style that came to be called the sentimental. The sentimental mode went on to shape not just literature, art, music, and cinema, but people's very structures of feeling, their ways of doing and being. This book challenges Sergei Eisenstein's influential account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries. It begins with a look at Frank Capra and the Capraesque in American public life, and then digs back to the eighteenth century to examine the sentimental substratum underlying Dickens and early cinema alike. With this surprising move, the author reveals how literary spectatorship in the eighteenth century anticipated classic Hollywood films such as Capra's It Happened One Night , Mr. Deeds Goes to Town , and It's a Wonderful Life . He then moves forward to romanticism and modernism—two cultural movements often seen as defined by their rejection of the sentimental—examining how authors like Mary Shelley, Joseph Conrad, James Joyce, and Virginia Woolf actually engaged with sentimental forms and themes in ways that left a mark on their work. Reaching from Laurence Sterne to the Coen brothers, the book casts new light on the long eighteenth century, and on the novelistic forebears of cinema and our modern world Contents Preface Introduction: The Sentimental Mode Part 1. The Capraesque One. Capra’s America Two. Capra Remakes Capra Three. Cinema as a Medium of Sentiment Part 2. The Making of Literary Sentimentalism Four. The Case of the Literary Spectator Five. Sentimental Journeys, Vehicular States Six. The Emergence of Sentimental Probability Seven. Sentimental Monstrosity Part 3. Against Sentiment Eight. Romanticism Nine. Modernism Coda Acknowledgments Notes Index Offers an account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries. This title begins with a look at Frank Capra and the Capraesque in American public life. In what is sure to become a critical classic, this book challenges Sergei Eisenstein's influential account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries