LEADER 03716nam 22007335 450 001 9910838232203321 005 20241029182429.0 010 $a0-226-46220-X 024 7 $a10.7208/9780226457468 035 $a(PPN)258098163 035 $a(CKB)3710000001118542 035 $a(MiAaPQ)EBC4826789 035 $a(StDuBDS)EDZ0001672893 035 $a(DE-B1597)523897 035 $a(OCoLC)979417511 035 $a(DE-B1597)9780226457468 035 $a(EXLCZ)993710000001118542 100 $a20191022d2017 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe Outward Mind $eMaterialist Aesthetics in Victorian Science and Literature /$fBenjamin Morgan 210 1$aChicago :$cUniversity of Chicago Press,$d[2017] 210 4$dİ2017 215 $a1 online resource (380 pages) $cillustrations 300 $aPreviously issued in print: 2017. 311 $a0-226-44211-X 311 $a0-226-45746-X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tIntroduction: Materialist Aesthetics --$tPart One: Toward a Science of Beauty --$tPart Two: The Outward Turn --$tAcknowledgments --$tNotes --$tBibliography --$tIndex 330 $aThough underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such as William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined. 606 $aAesthetics$xPsychological aspects 606 $aArts$xPsychological aspects 606 $aAesthetics, British$y19th century 606 $aAuthors, English$y19th century$xAesthetics 606 $aMaterialism$zEngland$xHistory$y19th century 606 $aNeuroanthropology 610 $aAlexander Bain. 610 $aJohn Ruskin. 610 $aVernon Lee. 610 $aWalter Pater. 610 $aWilliam Morris. 610 $aaffect. 610 $aempathy. 610 $aform. 610 $amaterialism. 610 $aphysiological aesthetics. 615 0$aAesthetics$xPsychological aspects. 615 0$aArts$xPsychological aspects. 615 0$aAesthetics, British 615 0$aAuthors, English$xAesthetics. 615 0$aMaterialism$xHistory 615 0$aNeuroanthropology. 676 $a111/.8509034 686 $aHL 1004$2rvk 700 $aMorgan$b Benjamin$01731443 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910838232203321 996 $aThe Outward Mind$94144101 997 $aUNINA