Private Interests : : Women, Portraiture, and the Visual Culture of the English Novel, 1709-1791 / / Alison Conway.

• Superior document: Title is part of eBook package: De Gruyter UTP eBook-Package Backlist 2000-2015
• VerfasserIn: Conway, Alison,
• Place / Publishing House: Toronto : : University of Toronto Press, , [2016]; ©2001
• Year of Publication: 2016
• Language: English
• Physical Description: 1 online resource
• Other title: Frontmatter --; Contents --; Illustrations --; Acknowledgments --; Introduction --; Chapter One. The Novel and the Portrait in Eighteenth-Century England --; Chapter Two. Envisioning Literary Interest: Manley's The New Atalantis --; Chapter Three. 'Ravished Sight': Picturing Clarissa --; Chapter Four. Refiguring Virtue: The History of Miss Betsy Thoughtless and Amelia --; Chapter Five. Taint her to your own mind': Sterne's Concupiscible Narratives --; Chapter Six. Portraits of the Woman Artist: Kauffman, Wollstonecraft, and Inchbald --; Afterword --; Notes --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781442678767; 9783110667691; 9783110490954
• DOI: 10.3138/9781442678767
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Alison Conway.

This ambitious interdisciplinary study undertakes a new definition of the eighteenth-century novel's investment in vision and visual culture, tracing the relationship between the development of the novel and that of the equally contentious genre of the portrait, particularly as represented in the novel itself. Working with the novels of Richardson, Fielding, Haywood, Manley, Sterne, Wollstonecraft and Inchbald, and the portraits of Reynolds, Gainsborough, Highmore, Hudson, Hogarth, and others, Private Interests points to the intimate connections between the literary works and the paintings. Arguing that the novel's representation of the portrait sustains a tension between competing definitions of private interests, Conway shows how private interests are figured as simultaneously decorous and illicit in the novel, with the portrait at once an instrument of propriety and of scandal. Examining women's roles as both authors of and characters in the novel and the novel's encounters with the portrait, the author provides a new definition of private interests, one which highlights the development of women's agency as both spectacles and spectators.