PAMELA His first novel "Pamela: Or, Virtue Rewarded" Samuel Richardson published when he was already over fifty. Behind were hard times: Richardson survived death of his wife and five sons. And although his second wife gave him four daughters, he did not have a heir, who could continue his work. "Pamela" immediately became one of the most popular works of that time. The protagonist is a servant who staunchly opposes the attempts of the young master to seduce her but later still marries him. By the way, Pamela gave birth to seven children.

Regarded by some as the leading novelist of the Eighteenth Century, Samuel Richardson is best known for his epistolary novels, which changed the course of English literature. This comprehensive eBook presents the complete works of Samuel Richardson, with numerous illustrations, rare texts appearing in digital print for the first time, informative introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Richardson’s life and works * Concise introductions to the novels and other texts * ALL 4 novels, with individual contents tables * Images of how the books were first printed, giving your eReader a taste of the original texts * Excellent formatting of the texts * The complete translation of AESOP’S FABLES, first time in digital print * Special numerical and alphabetical contents tables for the fables * Includes Richardson’s non-fiction, with rare essays - spend hours exploring the author’s wide range of texts * Special criticism section, with essays evaluating Richardson’s contribution to literature * Features two biographies, including Thomson’s seminal study - discover Richardson’s literary life * Scholarly ordering of texts into chronological order and literary genres Please visit www.delphiclassics.com to browse through our range of exciting titles CONTENTS: The Novels PAMELA; OR, VIRTUE REWARDED PAMELA IN HER EXALTED CONDITION CLARISSA; OR THE HISTORY OF A YOUNG LADY THE HISTORY OF SIR CHARLES GRANDISON The Fables AESOP’S FABLES The Non-Fiction THE INFIDEL CONVICTED THE APPRENTICE’S VADE MECUM THE SEASONABLE EXAMINATION OF THE PLEAS AND PRETENSIONS LETTERS WRITTEN TO AND FOR PARTICULAR FRIENDS A TOUR THRO’ THE WHOLE ISLAND OF GREAT BRITAIN COPY OF LETTER TO A LADY, WHO WAS SOLICITOUS FOR AN ADDITIONAL VOLUME TO THE HISTORY OF SIR CHARLES GRANDISON ANSWER TO A LETTER FROM A FRIEND SIX ORIGINAL LETTERS UPON DUELLING PREFACE TO AUBIN: A COLLECTION OF ENTERTAINING HISTORIES AND NOVELS The Poetry A VERSE FROM THE GENTLEMAN S MAGAZINE The Criticism REMARKS ON CLARISSA, &c. by Sarah Fielding THE ENGLISH NOVELISTS by William Hazlitt The Biographies THE LIFE OF SAMUEL RICHARDSON by Sir Walter Scott SAMUEL RICHARDSON: A BIOGRAPHICAL AND CRITICAL STUDY by Clara Linklater Thomson Please visit www.delphiclassics.com to browse through our range of exciting titles

A fascinating and original history of an idea that now controls and monetizes almost everything we do. Copyright is everywhere. Your smartphone incorporates thousands of items of intellectual property. Someone owns the reproduction rights to photographs of your dining table. At this very moment, battles are raging over copyright in the output of artificial intelligence programs. Not only books but wallpaper, computer programs, pop songs, cartoon characters, snapshots, and cuddly toys are now deemed to be intellectual properties—making copyright a labyrinthine construction of laws with colorful and often baffling rationales covering almost all products of human creativity. It wasn’t always so. Copyright has its roots in eighteenth-century London, where it was first established to limit printers’ control of books. But a handful of little-noticed changes in the late twentieth century brought about a new enclosure of the cultural commons, concentrating ownership of immaterial goods in very few hands. Copyright’s metastasis can’t be understood without knowing its backstory, a long tangle of high ideals, low greed, opportunism, and word-mangling that allowed poems and novels (and now, even ringtones and databases) to be treated as if they were no different from farms and houses. Principled arguments against copyright arose from the start and nearly abolished it in the nineteenth century. Nonetheless, countless revisions have made copyright ever stronger. Who Owns This Sentence? is an often-humorous and always-enlightening cultural, legal, and global history of the idea that intangible things can be owned, and makes a persuasive case for seeing copyright as an engine of inequality in the twenty-first century.

This volume, growing out of the celebrated turn toward history in literary criticism, showcases some of the best new historical work being done today in textual theory, literary history, and cultural criticism. The collection brings together for the first time key representativesfrom various schools of historicist scholarship, including leading critics whose work has helped define new historicism. The essays illuminate literary periods ranging from Anglo-Saxon to postmodern, a variety of literary texts that includes The Siege of Thebes, Macbeth, The Jazz Singer, and The Chosen Place, the Timeless People, and central issues that have marked new historicism: power, ideology, textuality, othering, marginality, exile, and liberation. The contributors are Janet Aikins, Lawrence Buell, Ralph Cohen, Margaret Ezell, Stephen Greenblatt, Terence Hoagwood, Jerome McGann, Robert Newman, Katherine O'Keeffe, Lee Patterson, Michael Rogin, Edward Said, and Hortense Spillers. The editors' introduction situates the various essays within contemporary criticism and explores the multiple, contestatory issues at stake within the historicist enterprise.

This Element studies eighteenth- and early nineteenth-century instances of transmediation, concentrating on how the same illustrations were adapted for new media and how they generated novel media constellations and meanings for these images. Focusing on the 'content' of the illustrations and its adaptation within the framework of a new medium, case studies examine the use across different media of illustrations (comprehending both the designs for book illustrations and furniture prints) of three eighteenth-century works: Defoe's Robinson Crusoe (1719), Thomson's The Seasons (1730) and Richardson's Pamela (1740). These case studies reveal how visually enhanced material culture not only makes present the literary work, including its characters and story-world. But they also demonstrate how, through processes of transmediation, changes are introduced to the illustration that affect comprehension of that work. This title is also available as Open Access on Cambridge Core.

Hitherto relegated to the closets of art history and literary studies, book illustration has entered mainstream scholarship. The chapters of this collection offer only a glimpse of where a complete reconfiguration of the visual periphery of eighteenth-century texts might ultimately take us. The use of the gerund of the verb “to reconfigure” in the subtitle of this collection, instead of the corresponding noun, underlines the work-in-progress character of this interdisciplinary endeavour, which aims above all to discern new vistas while charting or revisiting landmarks in the rich field of eighteenth-century book illustration. The specific interpretive lenses through which contributors to this collection re-evaluate the visual periphery of the text cover an array of disciplines and areas of interest; among these, the most prominent are book history and print culture, art history and image theory, material and visual culture, word and image interaction, feminist theory and gender studies, history of medicine and technology. This spectrum could have been even less restrictive and more colourful if it were not for pragmatic and editorial considerations. Nonetheless, its plurality of vision provides a framework for an inclusive and multifaceted approach to eighteenth-century book illustration. Perhaps these essays are most valuable in the practical models they provide on how to tackle the interdisciplinary challenge that is the study of the eighteenth-century illustrated book. The collection as such is the first formal step in an effort to rethink or reconfigure the visual periphery of eighteenth-century texts. It has become clear that the study of the illustrated book of the Age of Enlightenment has the potential of yielding multiple findings, perspectives and discourses about a society immersed in visual culture, skilled in visual communication and reflected in the visual legacy it left behind.