Sentimentalism Ethics And The Culture Of Feeling

Sentimentalism, Ethics and the Culture of Feeling defends feeling against customary distrust or condescension by showing that the affective turn of the eighteenth-century cult of sentiment, despite its sometimes surreal manifestations, has led to a positive culture of feeling. The very reaction against sentimentalism has taught us to identity sentimentality. Fiction, moreover, remains a principal means not just of discriminating quality of feeling but of appreciating its essentially imaginative nature.

In recent years there has been a tremendous resurgence of interest in ethical sentimentalism, a moral theory first articulated during the Scottish Enlightenment. 'Ethical Sentimentalism' promises a conception of morality that is grounded in a realistic account of human psychology, which, correspondingly, acknowledges the central place of emotion in our moral lives. However, this promise has encountered its share of philosophical difficulties. Chief among them is the question of how to square the limited scope of human motivation and psychological mechanism - so easily influenced by personal, social, and cultural circumstance - with the seeming universal scope and objective nature of moral judgment. The essays in this volume provide a comprehensive evaluation of the sentimentalist project with a particular eye to this difficulty. Each essay offers critical clarification, innovative answers to central challenges, and new directions for ethical sentimentalism in general.

Michael Slote has long been one of the foremost contributors to discussions in moral theory. Both his work on consequentialism and his particular version of virtue ethics have been highly influential. In recent years, Slote has developed a distinctive and original voice, placing his various theoretical endeavours under the title of “sentimentalism”. His key ethical work in this context is Moral Sentimentalism, which, uniquely, defends versions of both a metaethical and aretaic sentimentalist theory. The present volume is an extended discussion of that work, containing eight original commentaries and a substantial response by Slote, which provide fresh insights into his position. The collection will be of significant value to anyone interested in contemporary debates in meta-ethics or normative ethics.

Examining the memoirs and autobiographies of British soldiers during the Romantic period, Neil Ramsey explores the effect of these as cultural forms mediating warfare to the reading public during and immediately after the French Revolutionary and Napoleonic wars. Forming a distinct and commercially successful genre that in turn inspired the military and nautical novels that flourished in the 1830s, military memoirs profoundly shaped nineteenth-century British culture's understanding of war as Romantic adventure, establishing images of the nation's middle-class soldier heroes that would be of enduring significance through the nineteenth and twentieth centuries.

The Oxford Handbook of Victorian Literary Culture is a major contribution to the dynamic field of Victorian studies. This collection of 37 original chapters by leading international Victorian scholars offers new approaches to familiar themes including science, religion, and gender, and gives space to newer and emerging topics including old age, fair play, and economics. Structured around three broad sections (on 'Ways of Being: Identity and Ideology', 'Ways of Understanding: Knowledge and Belief', and 'Ways of Communicating: Print and Other Cultures', the volume is sub-divided into 9 sub-sections each with its own 'lead' essay: on subjectivity, politics, gender and sexuality, place and race, religion, science, material and mass culture, aesthetics and visual culture, and theatrical culture. The collection, like today's Victorian studies, is thoroughly interdisciplinary and yet its substantial Introduction explores a concern which is evident both implicitly and explicitly in the volume's essays: that is, the nature and status of 'literary' culture and the literary from the Victorian period to the present. The diverse and wide-ranging essays present original scholarship framed accessibly for a mixed readership of advanced undergraduates, graduate students and established scholars.

Smoothly blending performance theory, literary analysis, and historical insights, Cecilia Feilla explores the mutually dependent discourses of feeling and politics and their impact on the theatre and theatre audiences during the French Revolution. Remarkably, the most frequently performed and popular plays from 1789 to 1799 were not the political action pieces that have been the subject of much literary and historical criticism, but rather sentimental dramas and comedies, many of which originated on the stages of the Old Regime. Feilla suggests that theatre provided an important bridge from affective communities of sentimentality to active political communities of the nation, arguing that the performance of virtue on stage served to foster the passage from private emotion to public virtue and allowed groups such as women, children, and the poor who were excluded from direct political participation to imagine a new and inclusive social and political structure. Providing close readings of texts by, among others, Denis Diderot, Collot d'Herbois, and Voltaire, Feilla maps the ways in which continuities and innovations in the theatre from 1760 to 1800 set the stage for the nineteenth century. Her book revitalizes and enriches our understanding of the significance of sentimental drama, showing that it was central to the way that drama both shaped and was shaped by political culture.