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Fielding, Henry --- Authors [English ] --- 18th century --- Biography --- Fielding, Henry, - 1707-1754.

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Art --- English literature --- Fielding, Henry --- Hogarth, William --- anno 1700-1799 --- England --- Arts, English --- Art, Modern --- Littérature anglaise --- History and criticism --- Histoire et critique --- Fielding, Henry, --- Hogarth, William, --- Influence --- Angleterre --- Popular culture --- Culture populaire --- Littérature anglaise --- Popular culture. --- Influence.

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Painting --- Peinture --- Hogarth, William, --- Ronald Paulson --- kunst --- Groot-Brittannië --- grafiek --- Hogarth William --- achttiende eeuw --- schilderkunst --- 75.071 HOGARTH --- Khogart, Uilʹi︠a︡m, --- Khogart, --- Hogarth, Guglielmo, --- Hogarth, William --- 790 --- peinture XVIIIe siècle --- Angleterre peinture --- schilderkunst 18de eeuw --- kunstenaars --- artistes

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Originally published in 1967. In this study of the English Augustan satirists, and the Roman and subsequent authors who were their models, Professor Paulson shows how rhetoric relates to imitation, persuasion to presentation, and the imitation of the satirist to the imitation of the satiric object. He illustrates the tendency of the satirist to invade his own fiction and imitate not the prime object of his satire but the satiric persona, which consequently takes on a life of its own. By analyzing the satiric fictions of the precursors of the Augustans, the author reveals the elements they bequeathed to those who rode the high crest of the satiric wave in England, before the art of satire became submerged in the deepening trough of sentimental romanticism.Paulson shows the Tories Dryden, Pope, and Swift and the Whigs Addison and Steele to be the heirs of a long line of satirists ancient and modern, from Horace, Juvenal, Lucian, Apuleius, and Petronius to Rabelais, Cervantes and the English Elizabethan and Civil War poets. Taking Swift as his main example, Paulson examines the dualism of satire in its most interesting and ambiguous modes, and as the embodiment of rhetorical devices that are as complex mimetically as they are rhetorically.

Satire --- History and criticism. --- Literature: history & criticism

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Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers. In The Beautiful, Novel, and Strange Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty - worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange.

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