Good Form : : The Ethical Experience of the Victorian Novel / / Jesse Rosenthal.

• Superior document: Title is part of eBook package: De Gruyter Princeton University Press Complete eBook-Package 2016
• VerfasserIn: Rosenthal, Jesse,
• Place / Publishing House: Princeton, NJ : : Princeton University Press, , [2016]; ©2017
• Year of Publication: 2016
• Language: English
• Physical Description: 1 online resource (272 p.) :; 1 halftone.
• Other title: Frontmatter --; Contents --; Acknowledgments --; Introduction: “Moralised Fables” --; Chapter 1: What Feels Right: Ethics, Intuition, and the Experience of Narrative --; Chapter 2: The Subject of the Newgate Novel: Crime, Interest, What Novels Are About --; Chapter 3: Getting David Copperfield: Humor, Sensus Communis, and Moral Agreement --; Chapter 4: Back in Time: The Bildungsroman and the Source of Moral Agency --; Chapter 5: The Large Novel and the Law of Large Numbers: Daniel Deronda and the Counterintuitive --; Afterword --; Notes --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781400883738; 9783110638592; 9783110543322
• DOI: 10.1515/9781400883738?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Jesse Rosenthal.

What do we mean when we say that a novel's conclusion "feels right"? How did feeling, form, and the sense of right and wrong get mixed up, during the nineteenth century, in the experience of reading a novel? Good Form argues that Victorian readers associated the feeling of narrative form—of being pulled forward to a satisfying conclusion—with inner moral experience. Reclaiming the work of a generation of Victorian “intuitionist” philosophers who insisted that true morality consisted in being able to feel or intuit the morally good, Jesse Rosenthal shows that when Victorians discussed the moral dimensions of reading novels, they were also subtly discussing the genre’s formal properties.For most, Victorian moralizing is one of the period’s least attractive and interesting qualities. But Good Form argues that the moral interpretation of novel experience was essential in the development of the novel form—and that this moral approach is still a fundamental, if unrecognized, part of how we understand novels. Bringing together ideas from philosophy, literary history, and narrative theory, Rosenthal shows that we cannot understand the formal principles of the novel that we have inherited from the nineteenth century without also understanding the moral principles that have come with them. Good Form helps us to understand the way Victorians read, but it also helps us to understand the way we read now.