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Novels and ideas: Conceptions of agency in nineteenth-century fiction

Başlık çevirisi mevcut değil.

  1. Tez No: 622418
  2. Yazar: PATRİCK FESSENBECKER
  3. Danışmanlar: PROF. DR. DANIŞMAN YOK
  4. Tez Türü: Doktora
  5. Konular: İngiliz Dili ve Edebiyatı, English Language and Literature
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2014
  8. Dil: İngilizce
  9. Üniversite: Johns Hopkins University
  10. Enstitü: Yurtdışı Enstitü
  11. Ana Bilim Dalı: Belirtilmemiş.
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: 423

Özet

“Novels and Ideas”examines the representation of moral agency in Victorian fiction. A major strain of criticism portrays the investment in ethics in Victorian fiction as a way to avoid more serious political issues, creating a separate discourse that emphasizes the particular and emotional over the general and the rational. Recently, however, critics have seen a more complex dynamic, identifying the way literary texts develop their own accounts of traditionally philosophical topics like reflective awareness and moral psychology. Noting what Stefan Collini has called the“unreflective Kantianism”of Victorian ethics,“Novels and Ideas”continues this avenue of research, arguing that Victorian writers depict a sophisticated relationship between reason and emotion in moral deliberation. George Eliot shows how sympathy refigures the key commitments of Kantian respect in affective terms: in her novels, sympathy responds to the value of personhood as such. Charles Dickens's contrast between admirably bland protagonists and eccentric minor characters reformulates the tension between obligations that stem from mere humanity and those that stem from a concrete identity. George Meredith's analysis of egoism challenges the assumption of self-controlled selfishness in utilitarian psychology, suggesting that the egoist manifests an inability to carry out long-term projects and thus a breakdown in rational agency. Finally, Anthony Trollope challenges the assumption that rationality consists in deliberative judgment, suggesting that emotions can be more responsive to reasons than conscious thought. Alongside these readings, the project reflects on what it means to read so openly for the ideas in what are, admittedly, artistic texts. Through an analysis of the arguments that support the“anti-cognitivist”belief that art does not make assertions, the project develops an approach that emphasizes reading for the content. Since reading for the intellectual content involves bringing texts from the past into conversation with current debates, the project additionally defends interpretive anachronism, advocating a modified“presentism”that combines rational and historical reconstruction. It concludes by turning to philosophical aesthetics, arguing that the compelling ideas within a text can give it literary value.

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