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  1.  16
    The Spectator and Everyday Aesthetics.Brian Michael Norton - 2015 - Lumen: Selected Proceedings From the Canadian Society for Eighteenth-Century Studies 34:123.
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  2. After the Summum Bonum : Novels, Treatises and the Enquiry After Happiness.Brian Michael Norton - 2008 - In Alexander John Dick & Christina Lupton (eds.), Theory and Practice in the Eighteenth Century: Writing Between Philosophy and Literature. Pickering & Chatto.
     
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  3. Fiction and the Philosophy of Happiness: Ethical Inquiries in the Age of Enlightenment.Brian Michael Norton - 2012 - Bucknell University Press.
    This book examines the eighteenth-century novel in the context of emerging theories of happiness in early Enlightenment Europe. This important and richly interdisciplinary book offers both a new understanding of the cultural work the eighteenth-century novel performed, as well as an original interpretation of the Enlightenment’s ethical legacy.
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  4.  1
    Fiction and the Philosophy of Happiness: Ethical Inquiries in the Age of Enlightenment.Brian Michael Norton - 2012 - Bucknell University Press.
    This book examines the eighteenth-century novel in the context of emerging theories of happiness in early Enlightenment Europe. This important and richly interdisciplinary book offers both a new understanding of the cultural work the eighteenth-century novel performed, as well as an original interpretation of the Enlightenment’s ethical legacy.
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    Shaftesbury and the Stoic Roots of Modern Aesthetics.Brian Michael Norton - 2021 - Aesthetic Investigations 4 (2):163-181.
    Rather than reading Shaftesbury in anticipation of later forms of disinterestedness, this essay seeks to unpack the larger significance of his aesthetics by tracing his ideas back to their ancient sources. This essay looks to the venerable tradition of world contemplation. It argues that Shaftesbury advances a specifically Stoic model of world contemplation in The Moralists. The text’s principal concern is not with this or that beautiful object but with the whole of which it and the viewer are indivisibly a (...)
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