Name: Private Interests: Women, Portraiture, and the Visual Culture of the English Novel, 1709-1791 (en Inglés)
SKU: 59545048
Price: 56160.00 CLP
Availability: InStock
Author: Conway, Alison
ISBN: 9781487525446

portada Private Interests: Women, Portraiture, and the Visual Culture of the English Novel, 1709-1791 (en Inglés)

Private Interests: Women, Portraiture, and the Visual Culture of the English Novel, 1709-1791 (en Inglés)

Formato

Libro Físico

Autor

Alison Conway

Editorial

University of Toronto Press

Idioma

Inglés

N° páginas

328

Encuadernación

Tapa Blanda

Dimensiones

22.9x15.2x1.9 cm

Peso

0.49 kg.

ISBN13

9781487525446

Categorías

Irlanda
Reino unido
Literatura: historia y crítica
Estudios de género: mujeres y chicas

Private Interests: Women, Portraiture, and the Visual Culture of the English Novel, 1709-1791 (en Inglés)

Alison Conway (Autor) · University of Toronto Press · Tapa Blanda

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Reseña del libro "Private Interests: Women, Portraiture, and the Visual Culture of the English Novel, 1709-1791 (en Inglés)"

This 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.