LEADER 04274nam 2200781 450 001 9910456154803321 005 20200520144314.0 010 $a1-282-01439-0 010 $a9786612014390 010 $a1-4426-7876-3 024 7 $a10.3138/9781442678767 035 $a(CKB)2420000000004294 035 $a(OCoLC)666906260 035 $a(CaPaEBR)ebrary10218751 035 $a(SSID)ssj0000306929 035 $a(PQKBManifestationID)11238178 035 $a(PQKBTitleCode)TC0000306929 035 $a(PQKBWorkID)10308420 035 $a(PQKB)11760215 035 $a(CaBNvSL)thg00600140 035 $a(MiAaPQ)EBC3254846 035 $a(MiAaPQ)EBC4671855 035 $a(DE-B1597)464776 035 $a(OCoLC)1013955915 035 $a(OCoLC)944177550 035 $a(DE-B1597)9781442678767 035 $a(Au-PeEL)EBL4671855 035 $a(CaPaEBR)ebr11257545 035 $a(CaONFJC)MIL201439 035 $a(OCoLC)958565091 035 $a(EXLCZ)992420000000004294 100 $a20160923h20012001 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPrivate interests $ewomen, portraiture, and the visual culture of the English novel, 1709-1791 /$fAlison Conway 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2001. 210 4$dİ2001 215 $a1 online resource (334 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8020-3526-4 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tIllustrations -- $tAcknowledgments -- $tIntroduction -- $tChapter One. The Novel and the Portrait in Eighteenth-Century England -- $tChapter Two. Envisioning Literary Interest: Manley's The New Atalantis -- $tChapter Three. 'Ravished Sight': Picturing Clarissa -- $tChapter Four. Refiguring Virtue: The History of Miss Betsy Thoughtless and Amelia -- $tChapter Five. Taint her to your own mind': Sterne's Concupiscible Narratives -- $tChapter Six. Portraits of the Woman Artist: Kauffman, Wollstonecraft, and Inchbald -- $tAfterword -- $tNotes -- $tBibliography -- $tIndex 330 $aThis 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. 606 $aEnglish fiction$y18th century$xHistory and criticism 606 $aArt and literature$zEngland$xHistory$y18th century 606 $aWomen and literature$zEngland$xHistory$y18th century 606 $aVisual perception in literature 606 $aPortraits in literature 606 $aWomen in literature 608 $aElectronic books. 615 0$aEnglish fiction$xHistory and criticism. 615 0$aArt and literature$xHistory 615 0$aWomen and literature$xHistory 615 0$aVisual perception in literature. 615 0$aPortraits in literature. 615 0$aWomen in literature. 676 $a823/.509357 700 $aConway$b Alison Margaret$0983255 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456154803321 996 $aPrivate interests$92468472 997 $aUNINA