Seventeenth-century English virtuoso attitudes to the visual arts have often been contrasted with a putative eighteenth-century culture of connoisseurship, most notably in a still influential 1942 article by Walter Houghton. This essay revisits Houghton's thesis and argues that English virtuoso culture did indeed allow for an incipient notion of artistic connoisseurship but that it did so in a manner different from the French model. The first section details a virtuoso aesthetic in which a modern approach to the cultural heritage of (...) antiquity was central. The instructive ethical and historical attributes of an art work were deemed more important than attribution to a master artist, although one can discern an incipient notion of a virtuoso canon of great artists. The second section examines the social and institutional position of the English virtuosi and argues that the lack of a Royal Academy of Arts in the French manner made virtuoso attitudes to the arts unusually receptive to outside influences such as the Royal Society and other private clubs and academies. It concludes by considering the ways in which some eighteenth-century concepts of taste and connoisseurship defined themselves in contrast to an earlier and wider-ranging virtuosity even if they failed to fully supplant it. (shrink)

Jonathan Swift is best known as a satirist, a poet, and a polemicist, but he was also a historian and his historical vision played a prominent role in his thinking and in his writings. (Marshall 2015) This chapter explains how the experience of ‘loss’ affected Swift’s historical vision. Swift was a loser in many respects. Born Irish, Swift aspired to achieve professional success as a clergyman in the Church of England and as a politician in the service of the Tory (...) party. For the last four years of Queen Anne’s reign, Swift enjoyed privileged access to the machinations of Robert Harley’s ‘great’ ministry. Swift’s service to the crown was not rewarded with preferment but rather with exile back to Ireland. In his later life, Swift would reinvent himself as an Irish patriot and he would continue to work on revising his History of the Four Last Years of the Queen (written 1712-13; published 1758). (shrink)

Earlier versions of all the essays were given at a colloquium at Assumption College, Sept. 21-22, 2007.

Seventeenth-century English virtuoso attitudes to the visual arts have often been contrasted with a putative eighteenth-century culture of connoisseurship, most notably in a still influential 1942 article by Walter Houghton. This essay revisits Houghton's thesis and argues that English virtuoso culture did indeed allow for an incipient notion of artistic connoisseurship but that it did so in a manner different from the French model. The first section details a virtuoso aesthetic in which a modern approach to the cultural heritage of (...) antiquity was central. The instructive ethical and historical attributes of an art work were deemed more important than attribution to a master artist, although one can discern an incipient notion of a virtuoso canon of great artists. The second section examines the social and institutional position of the English virtuosi and argues that the lack of a Royal Academy of Arts in the French manner made virtuoso attitudes to the arts unusually receptive to outside influences such as the Royal Society and other private clubs and academies. It concludes by considering the ways in which some eighteenth-century concepts of taste and connoisseurship defined themselves in contrast to an earlier and wider-ranging virtuosity even if they failed to fully supplant it. (shrink)

Review of: Kevin Sharpe and Steven N. Zwicker ; Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, University of California Press, Berkeley, Los Angeles, 1998; Kevin Sharpe, Re-Mapping Early Modern England, Cambridge University Press, Cambridge, 2000; Kevin Sharpe, Reading Revolutions: The Politics of Reading in Early Modern England, Yale University Press, New Haven, 2000.

This collection of essays by five scholars whose views were mutually shaped in several years of association at Yale attempts to define deconstruction and its place in criticism from a philosophical standpoint. Though the definition is not easily got at, the volume does provide some important insights into the purpose and future of criticism. "Deconstruction" is a way of reading that holds in tension the contradictory evidence of a romantic criticism, which asserts the primacy of the author's mind over his (...) material, and of semiotics, which asserts the priority of linguistic codes over any rational or imaginative determination of meaning, thereby undermining claims to causality or intuitive truth. Thus, the authors here can remain in contact with the romantic mode even after having rigorously shown it to be untenable. Eschewing pure structuralism, these essays demonstrate a continuing commitment to the integrity of the literary text, not out of a misguided aestheticism but because of the manifest inability of analysis to resolve the contradictions that engender the text. (shrink)

The second in an important series of translations at MIT Press, with a helpful, detailed introduction by the translator, this volume presents Gadamer actively reconsidering the history of philosophy and the development of his own thought in the context of the present technocratic society, its outlook and its problems.

This study aims to conjoin recent insights in the poetics of the novel with an existential concern for human life. Medina sees his brief, provocative work as a contribution toward establishing "forms of human intending" as bases of literary expression, in the main through his attempt to correlate a hermeneutics of the symbol with the hermeneutics of existence. To this end he first reappraises the act of reflection, finding its most authentic form not in Western philosophical tradition--which, he claims, has (...) tended to see reflection as an almost mechanical operation deriving from insight--but in those forms of writing which present man in the process of reflecting on his own life, its intentions, directions, and misdirections. Here the self is not a given but is shown in the process of being formed; desire for fulfillment of one's path in life, not a detached desire for cognition, is the motive of reflection; and the referential direction of reflection is biographical rather than objective and ideational. (shrink)