04274nam 2200781 450 991045615480332120200520144314.01-282-01439-097866120143901-4426-7876-310.3138/9781442678767(CKB)2420000000004294(OCoLC)666906260(CaPaEBR)ebrary10218751(SSID)ssj0000306929(PQKBManifestationID)11238178(PQKBTitleCode)TC0000306929(PQKBWorkID)10308420(PQKB)11760215(CaBNvSL)thg00600140 (MiAaPQ)EBC3254846(MiAaPQ)EBC4671855(DE-B1597)464776(OCoLC)1013955915(OCoLC)944177550(DE-B1597)9781442678767(Au-PeEL)EBL4671855(CaPaEBR)ebr11257545(CaONFJC)MIL201439(OCoLC)958565091(EXLCZ)99242000000000429420160923h20012001 uy 0engurcn|||||||||txtccrPrivate interests women, portraiture, and the visual culture of the English novel, 1709-1791 /Alison ConwayToronto, [Ontario] ;Buffalo, [New York] ;London, [England] :University of Toronto Press,2001.©20011 online resource (334 p.)Bibliographic Level Mode of Issuance: Monograph0-8020-3526-4 Includes bibliographical references and index.Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction -- Chapter One. The Novel and the Portrait in Eighteenth-Century England -- Chapter Two. Envisioning Literary Interest: Manley's The New Atalantis -- Chapter Three. 'Ravished Sight': Picturing Clarissa -- Chapter Four. Refiguring Virtue: The History of Miss Betsy Thoughtless and Amelia -- Chapter Five. Taint her to your own mind': Sterne's Concupiscible Narratives -- Chapter Six. Portraits of the Woman Artist: Kauffman, Wollstonecraft, and Inchbald -- Afterword -- Notes -- Bibliography -- IndexThis ambitious interdisciplinary study undertakes a new definition of the eighteenth-century novel's investment in vision and visual culture, tracing the relationship between the development of the novel and that of the equally contentious genre of the portrait, particularly as represented in the novel itself. Working with the novels of Richardson, Fielding, Haywood, Manley, Sterne, Wollstonecraft and Inchbald, and the portraits of Reynolds, Gainsborough, Highmore, Hudson, Hogarth, and others, Private Interests points to the intimate connections between the literary works and the paintings. Arguing that the novel's representation of the portrait sustains a tension between competing definitions of private interests, Conway shows how private interests are figured as simultaneously decorous and illicit in the novel, with the portrait at once an instrument of propriety and of scandal. Examining women's roles as both authors of and characters in the novel and the novel's encounters with the portrait, the author provides a new definition of private interests, one which highlights the development of women's agency as both spectacles and spectators.English fiction18th centuryHistory and criticismArt and literatureEnglandHistory18th centuryWomen and literatureEnglandHistory18th centuryVisual perception in literaturePortraits in literatureWomen in literatureElectronic books.English fictionHistory and criticism.Art and literatureHistoryWomen and literatureHistoryVisual perception in literature.Portraits in literature.Women in literature.823/.509357Conway Alison Margaret983255MiAaPQMiAaPQMiAaPQBOOK9910456154803321Private interests2468472UNINA