05300oam 22009134a 450 991052485320332120230627205049.01-4214-3056-8(CKB)4100000010460927(OCoLC)1127561429(MdBmJHUP)muse77215(oapen)https://directory.doabooks.org/handle/20.500.12854/88832(EXLCZ)99410000001046092720190805h20191996 uy 0engur|||||||nn|ntxtrdacontentcrdamediacrrdacarrierThe Beautiful, Novel, and StrangeAesthetics and Heterodoxy /Ronald PaulsonJohns Hopkins University Press1 online resource (1 online resource (xix, 369 pages :)illustrations)Open access edition supported by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program.The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International LicenseOriginally published as Johns Hopkins Press in 19961-4214-3096-7 1-4214-3011-8 Includes bibliographical references (pages 311-355) and index.Aesthetics and deism -- Shaftesburian disinterestedness -- Addison's aesthetics of the novel -- The conversation piece : politeness and subversion -- The "Great Creation" : Fielding -- Aesthetics and erotics : Cleland, Fielding, and Sterne -- The strange, trivial and infantile : books for children -- From novel to strange to "sublime" -- From novel to picturesque -- The novelizing of Hogarth.Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers.In The Beautiful, Novel, and Strange Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty - worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange.Litterature et societeGrande-Bretagne18e siecleramArt et litteratureGrande-Bretagne18e siecleramRoman anglais18e siecleHistoire et critiqueramLitterature anglaise18e siecleHistoire et critiqueramEsthetiqueGrande-Bretagne18e siecleramEstheticagttLetterkundegttEngelsgttLiterature and societyfast(OCoLC)fst01000096FictionTechniquefast(OCoLC)fst00923755English fictionfast(OCoLC)fst00910817Art and literaturefast(OCoLC)fst00815400Aesthetics, Britishfast(OCoLC)fst00798754FictionTechniqueLiterature and societyGreat BritainHistory18th centuryAesthetics, British18th centuryArt and literatureGreat BritainHistory18th centuryEnglish fiction18th centuryHistory and criticismGreat BritainGreat BritainfastHistory.Criticism, interpretation, etc.Visual artsAestheticsLitterature et societeArt et litteratureRoman anglaisHistoire et critique.Litterature anglaiseHistoire et critique.EsthetiqueEsthetica.Letterkunde.Engels.Literature and society.FictionTechnique.English fiction.Art and literature.Aesthetics, British.FictionTechnique.Literature and societyHistoryAesthetics, BritishArt and literatureHistoryEnglish fictionHistory and criticism.Paulson Ronald132013MdBmJHUPMdBmJHUPBOOK9910524853203321The Beautiful, Novel, and Strange2676817UNINA