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After taste: The aesthetics of roma...

Gigante, Denise.

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After taste: The aesthetics of romantic eating (William Wordsworth, Charles Lamb, John Keats).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	After taste: The aesthetics of romantic eating (William Wordsworth, Charles Lamb, John Keats)./
作者:	Gigante, Denise.
面頁冊數:	218 p.
附註:	Adviser: Michael Wood.
Contained By:	Dissertation Abstracts International61-02A.
標題:	Literature, English. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9962014
ISBN:	0599659734

After taste: The aesthetics of romantic eating (William Wordsworth, Charles Lamb, John Keats).
Gigante, Denise.

After taste: The aesthetics of romantic eating (William Wordsworth, Charles Lamb, John Keats). - 218 p.

Adviser: Michael Wood.

Thesis (Ph.D.)--Princeton University, 2000.

This dissertation argues that taste is messier than one might think. A discourse that evolves from metaphors of ingestion, digestion, and excretion, taste was physiological before it ever became philosophical and informed our ideas of aesthetics. To rethink what we understand as aesthetic taste, this dissertation offers a genealogy that spills out of its accepted Enlightenment borders. Taste, I argue, originates in Milton and culminates in a Romantic “critique of taste.” By this, I mean the rich diversity of ways in which Romantic writers allegorize, revise, or otherwise reconceive the process of subjective self-fashioning through taste. By examining representations of bodily, physiological taste (or eating) in the work of William Wordsworth, Charles Lamb, and John Keats, I show how they creatively refigure the metaphor of taste for a post-Enlightenment generation.

ISBN: 0599659734Subjects--Topical Terms:

1017709
Literature, English.

After taste: The aesthetics of romantic eating (William Wordsworth, Charles Lamb, John Keats).
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520 $a This dissertation argues that taste is messier than one might think. A discourse that evolves from metaphors of ingestion, digestion, and excretion, taste was physiological before it ever became philosophical and informed our ideas of aesthetics. To rethink what we understand as aesthetic taste, this dissertation offers a genealogy that spills out of its accepted Enlightenment borders. Taste, I argue, originates in Milton and culminates in a Romantic “critique of taste.” By this, I mean the rich diversity of ways in which Romantic writers allegorize, revise, or otherwise reconceive the process of subjective self-fashioning through taste. By examining representations of bodily, physiological taste (or eating) in the work of William Wordsworth, Charles Lamb, and John Keats, I show how they creatively refigure the metaphor of taste for a post-Enlightenment generation.
520 $a All the central eighteenth-century theorists of taste from Shaftesbury to Hume to Burke grappled with the tension between physiological and philosophical taste as part of an Enlightenment effort to sublimate the former into the latter. I argue that after the rupture of the 1790s, when rampant, revolutionary appetites made a mockery of the reign of taste, the Romantic writers I discuss inherited an aesthetic legacy that could no longer disguise or contain its own physicality. As the self-fashioning of a social, civic humanist identity became understood as subject-making, the body remained a stubborn site of resistance to the aesthetically realized self. From the Mount Snowdon scene of <italic>The Prelude</italic> to the dying-into-life of the poet of <italic> The Fall of Hyperion</italic>, Romantic efforts to rethink the dominant mode of aesthetic self-making from the “Century of Taste” took on heightened urgency in those moments traditionally considered constitutive of Romantic subjectivity. In short, Romantic struggles at self-creation through taste register not only the bodily grounding of taste, but the aspirations and frustrations of the tasting body, that repressed remainder of all aesthetic selfhood.
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