Ronald Paulson is a professor of English and art history at Johns Hopkins University. His many books include Breaking and Remaking: Aesthetic Practice in England, 1700–1820; Book and Painting: Shakespeare, Milton, and the Bible; Representations of Revolution, 1789–1820; and Literary Landscape: Turner and Constable.

• PrefaceChapter 1. Aesthetics and Deism Chapter 2. Shaftesburian Disinterestedness Chapter 3. Addison's Aesthetics of the Novel Chapter 4. The Conversation Piece: Politeness and Subversion Chapter 5. The "Great Creation": Fielding Chapter 6. Aesthetics and Erotics: Cleland, Fielding, and Sterne Chapter 7. The Strange, Trivial, and Infantile: Books for Children Chapter 8. From Novel co Strange to "Sublime" Chapter 9. From Novel to Picturesque Chapter 10. The Novelizing of Hogarth Illustrations NotesAckowledgmentsIndex

This is a remarkable and important book, one that scholars will be learning from for a long time and that critics and theorists of the arts will want to ponder for its interventions into the basic questions of aesthetics, ideology, and the relation of artistic theory and practice. It will certainly spark a much-needed debate in the complacent circles of British art history, one that will fruitfully cut across the familiar battle lines between 'left' and 'right,' 'theorists' and 'historians,' 'scholars' and 'critics.'.—W. J. T. Mitchell, Editor, Critical Inquiry

Ronald Paulson is a professor of English and art history at Johns Hopkins University. His many books include Breaking and Remaking: Aesthetic Practice in England, 1700–1820; Book and Painting: Shakespeare, Milton, and the Bible; Representations of Revolution, 1789–1820; and Literary Landscape: Turner and Constable.

• PrefaceChapter 1. Aesthetics and Deism Chapter 2. Shaftesburian Disinterestedness Chapter 3. Addison's Aesthetics of the Novel Chapter 4. The Conversation Piece: Politeness and Subversion Chapter 5. The "Great Creation": Fielding Chapter 6. Aesthetics and Erotics: Cleland, Fielding, and Sterne Chapter 7. The Strange, Trivial, and Infantile: Books for Children Chapter 8. From Novel co Strange to "Sublime" Chapter 9. From Novel to Picturesque Chapter 10. The Novelizing of Hogarth Illustrations NotesAckowledgmentsIndex

This is a remarkable and important book, one that scholars will be learning from for a long time and that critics and theorists of the arts will want to ponder for its interventions into the basic questions of aesthetics, ideology, and the relation of artistic theory and practice. It will certainly spark a much-needed debate in the complacent circles of British art history, one that will fruitfully cut across the familiar battle lines between 'left' and 'right,' 'theorists' and 'historians,' 'scholars' and 'critics.'.—W. J. T. Mitchell, Editor, Critical Inquiry

Ronald Paulson is a professor of English and art history at Johns Hopkins University. His many books include Breaking and Remaking: Aesthetic Practice in England, 1700–1820; Book and Painting: Shakespeare, Milton, and the Bible; Representations of Revolution, 1789–1820; and Literary Landscape: Turner and Constable.

• PrefaceChapter 1. Aesthetics and Deism Chapter 2. Shaftesburian Disinterestedness Chapter 3. Addison's Aesthetics of the Novel Chapter 4. The Conversation Piece: Politeness and Subversion Chapter 5. The "Great Creation": Fielding Chapter 6. Aesthetics and Erotics: Cleland, Fielding, and Sterne Chapter 7. The Strange, Trivial, and Infantile: Books for Children Chapter 8. From Novel co Strange to "Sublime" Chapter 9. From Novel to Picturesque Chapter 10. The Novelizing of Hogarth Illustrations NotesAckowledgmentsIndex

This is a remarkable and important book, one that scholars will be learning from for a long time and that critics and theorists of the arts will want to ponder for its interventions into the basic questions of aesthetics, ideology, and the relation of artistic theory and practice. It will certainly spark a much-needed debate in the complacent circles of British art history, one that will fruitfully cut across the familiar battle lines between 'left' and 'right,' 'theorists' and 'historians,' 'scholars' and 'critics.'.—W. J. T. Mitchell, Editor, Critical Inquiry