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Romantic Ekphrasis and the Intellect...

O'Kell, Jennifer Emily.

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Romantic Ekphrasis and the Intellectual Culture of Sensibility.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Romantic Ekphrasis and the Intellectual Culture of Sensibility./
Author:	O'Kell, Jennifer Emily.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	290 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.
Contained By:	Dissertation Abstracts International78-01A(E).
Subject:	English literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10140436
ISBN:	9781339958347

Romantic Ekphrasis and the Intellectual Culture of Sensibility.
O'Kell, Jennifer Emily.

Romantic Ekphrasis and the Intellectual Culture of Sensibility. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 290 p.

Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2016.

This thesis examines the intersection of poetry about art, the culture of sensibility, and eighteenth-century aesthetic thought in Romantic literature. These converging discourses allowed poets to suggest insights into the necessary conditions of sympathetic exchange, and the limits of what sympathy can accomplish. This thesis proposes ambitious changes to our understanding of Romantic ekphrasis in order to offer a subtle but crucial change to our understanding of the culture of sensibility. It considers a broad range of Romantic ekphrases -- some well-known poems by Wordsworth, Keats, and Shelley, and some largely unstudied poems by Cowper, Mary Russell Mitford, Henry Hart Milman, Barry Cornwall, and others -- reading these texts against multiple historical contexts. One of these contexts is the eighteenth-century idea that the visual arts represent only a single, "pregnant" moment, whereas literature represents successions of events. Moral philosophy and the philosophy of the sister arts are bound up with one another throughout the eighteenth century; David Hume's formulation of sympathy as instinctive and visual comes to be associated with painting and sculpture, while Adam Smith's formulation of it as an imagined reconstruction comes to be associated with literature. Another key context is the ekphrastic tradition, especially its understudied eighteenth-century portion. This thesis is the first study to adequately investigate the archive of eighteenth-century ekphrasis. In the light of these contexts, it argues that Romantic ekphrasis was a site of ongoing intellectual activity within the culture of sensibility. Romantic thinkers inherited a set of questions about the role of emotion and affect in ethical conduct, and about the role of the arts, not only in producing emotion, but also in shaping how we grapple intellectually with emotion. This thesis brings to light some of the intellectual tools that early nineteenth-century poets brought to bear on these questions.

ISBN: 9781339958347Subjects--Topical Terms:

516356
English literature.

Romantic Ekphrasis and the Intellectual Culture of Sensibility.
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520 $a This thesis examines the intersection of poetry about art, the culture of sensibility, and eighteenth-century aesthetic thought in Romantic literature. These converging discourses allowed poets to suggest insights into the necessary conditions of sympathetic exchange, and the limits of what sympathy can accomplish. This thesis proposes ambitious changes to our understanding of Romantic ekphrasis in order to offer a subtle but crucial change to our understanding of the culture of sensibility. It considers a broad range of Romantic ekphrases -- some well-known poems by Wordsworth, Keats, and Shelley, and some largely unstudied poems by Cowper, Mary Russell Mitford, Henry Hart Milman, Barry Cornwall, and others -- reading these texts against multiple historical contexts. One of these contexts is the eighteenth-century idea that the visual arts represent only a single, "pregnant" moment, whereas literature represents successions of events. Moral philosophy and the philosophy of the sister arts are bound up with one another throughout the eighteenth century; David Hume's formulation of sympathy as instinctive and visual comes to be associated with painting and sculpture, while Adam Smith's formulation of it as an imagined reconstruction comes to be associated with literature. Another key context is the ekphrastic tradition, especially its understudied eighteenth-century portion. This thesis is the first study to adequately investigate the archive of eighteenth-century ekphrasis. In the light of these contexts, it argues that Romantic ekphrasis was a site of ongoing intellectual activity within the culture of sensibility. Romantic thinkers inherited a set of questions about the role of emotion and affect in ethical conduct, and about the role of the arts, not only in producing emotion, but also in shaping how we grapple intellectually with emotion. This thesis brings to light some of the intellectual tools that early nineteenth-century poets brought to bear on these questions.
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