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The twenty-six essays in this volume examine the process of creating the Middle Ages. In doing so, they honour Leslie Workman, who has led the revival of the study of medievalism in the past two generations, and leads this sub-discipline towards the comprehensiveness that Lord Acton as early as 1859 had promised: 'Two great principles divide the world, and contend for the mastery: antiquity and the Middle Ages. These are the two civilizations that have preceded us, the two elements of which ours is composed. All political as well as religious questions reduce themselves practically to this. This is the great dualism that runs through our society. While using differnt approaches and discussing topics in a variety of specialised fields, the contributions clearly centre on negotiating the reception of medieval culture in the Early Modern, Modern and Contemporary periods, thus presenting a broad and representative picture of current research in medievalism.

Médiévisme (esthétique) --- Langues celtiques. --- Moyen âge --- Littérature médiévale --- Histoire. --- Étude et enseignement.

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Au XIXe siècle, le Moyen Age est considéré comme un moment fondateur où le génie des nations s'est révélé. Dans le même temps, l'histoire s'est affirmée comme une discipline scientifique. Des spécialistes du Moyen Age et du XIXe siècle conjuguent leurs approches pour analyser comment à cette époque furent posées les nouvelles pratiques de l'histoire et les bases modernes du travail de l'historien. ©Electre 2015

Middle Ages --- Moyen Age --- Historiography --- Congresses --- Historiographie --- Congrès --- Médiévistique --- --Historiographie --- --Biographies --- Moyen âge --- Médiévisme (esthétique) --- Biographies --- Medievalism --- Historians --- Europe --- History --- --Middle Ages --- Congrès --- Histoire médiévale --- Historiographie. --- Historiens --- Histoire médiévale --- Médiévisme (esthétique)

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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.

Litterature et societe --- Art et litterature --- Roman anglais --- Litterature anglaise --- Esthetique --- Esthetica. --- Letterkunde. --- Engels. --- Literature and society. --- Fiction --- English fiction. --- Art and literature. --- Aesthetics, British. --- Literature and society --- Aesthetics, British --- Art and literature --- English fiction --- Histoire et critique. --- Technique. --- History --- History and criticism. --- 1700-1799 --- Great Britain. --- Visual arts --- Aesthetics --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Literature --- Fiction writing --- Metafiction --- Writing, Fiction --- Authorship --- Aesthetics, English --- British aesthetics --- English aesthetics --- English literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- Social aspects --- Art, Théorie de l' --- Art --- Arts --- Contribution à l'esthétique --- Et l'esthétique --- Philosophie des arts --- Théorie artistique --- Théorie de l'art --- Théories artistiques --- Critique et interprétation --- Culture visuelle --- Esthétique --- Esthétique et droit --- Esthétique et morale --- Académisme --- Allusion --- Apollinien et dionysiaque --- Architecture --- Art pour l'art --- Auteur (esthétique) --- Authenticité (art) --- Avant-garde (esthétique) --- Beau (esthétique) --- Beauté féminine (esthétique) --- Camp (style) --- Catharsis --- Cinéma --- Comique --- Contemporanéité (esthétique) --- Création (esthétique) --- Déformation (esthétique) --- Dernières oeuvres --- Détails (philosophie) --- Dilettantisme (esthétique) --- Dimension (esthétique) --- Double (esthétique) --- Douceur --- Échelle (ordre de grandeur) --- Éclectisme (esthétique) --- Élégance --- Ellipse (esthétique) --- Empathie (esthétique) --- Entre-deux (esthétique) --- Épique (esthétique) --- Esthétique anarchiste --- Esthétique communiste --- Esthétique comparée --- Esthétique environnementale --- Esthétique fasciste --- Esthétique marxiste --- Esthétique national-socialiste --- Fantastique --- Fin de siècle (esthétique) --- Flou (esthétique) --- Force (esthétique) --- Forme (esthétique) --- Goût (esthétique) --- Grâce (esthétique) --- Grandiose (esthétique) --- Grotesque --- Harmonie (esthétique) --- Humour --- Imaginaire (philosophie) --- Imagination (philosophie) --- Immobilité (esthétique) --- Improvisation (esthétique) --- Informe (esthétique) --- Insignifiance (esthétique) --- Inspiration --- Ironie --- Jeu (philosophie) --- Jugement esthétique --- Kitsch --- Laideur --- Légèreté --- Littérature --- Médiévisme (esthétique) --- Modernisme (esthétique) --- Montage (esthétique) --- Mouvement (esthétique) --- Musique --- Nature (esthétique) --- Nouveauté --- Objet (esthétique) --- Orientalisme --- Originalité (esthétique) --- Peinture --- Pittoresque --- Poïétique --- Post-postmodernisme --- Postmodernisme --- Premières oeuvres --- Provocation (esthétique) --- Répétition (esthétique) --- Représentation (esthétique) --- Reste (esthétique) --- Ruines (esthétique) --- Rythme --- Silence (philosophie) --- Simultanéité (esthétique) --- Spectaculaire --- Stimmung --- Style --- Sublime --- Théâtre --- Tradition (philosophie) --- Transgression --- Valeurs (philosophie) --- Vulgarité --- Wabi-sabi --- Philosophie --- Littérature et art --- Littérature et arts plastiques --- Littérature et beaux-arts --- Littérature et peinture --- Littérature et sculpture --- Peinture et littérature --- Poésie et art --- Poésie et peinture --- Poésie et sculpture --- Sculpture et littérature --- Critique d'art --- Architecture et littérature --- Cubisme et littérature --- Ekphrasis --- Littérature et photographie --- Ut pictura poesis (esthétique) --- Arts et littérature --- Société et littérature --- Femmes et littérature --- Littérature et géographie --- Littérature postcoloniale --- Sociologie de la littérature --- Vie littéraire --- Féminisme et littérature --- Institution littéraire --- Psychologie sociale et littérature --- Histoire --- Aspect religieux --- Philosophie et esthétique --- Aspect social --- Esthétique et religion