샤프츠베리 백작과 18세기 영국 담소화의 등장 = The Third Earl of Shaftesbury and the Emergence of British Conversation Piece in the Eighteenth Century

다국어 초록 (Multilingual Abstract)

Anthony Ashley Cooper (1671-1713), third Earl of Shaftesbury has been widely recognized as a significant thinker in the history of Western philosophy. His contributions, in particular, to the development of aesthetic theory have often been hailed as founding the discipline of modern aesthetics: he is credited to have originated the notion of ‘disinterestedness,’ the backbone of aesthetic experience. Studies of him, however, have been narrowly focused on his somehow vexed contributions to individual disciplines such as ethics, religion, and aesthetics. Drawing on recent revisionist perspectives in British eighteenth-century historiography, especially, the discourse of ‘politeness,’ this article seeks to argue for the importance of Shaftesbury and his ideas in the formation of aristocratic taste and the emergence of the genre of ‘conversation piece’ in eighteenth-century Britain. Via a series of pamphlets assembled in his magnum opus Characteristicks of Men, Manners, Opinions, Times, published in 1711, Shaftesbury refined the notion of politeness, a civil discourse for the betterment of virtually every human conduct. In the course of his arguments, he laid much emphasis on the cultivation of polite conversation since he considered it the foundation of politeness itself. Trying to incorporate ethics and aesthetics into the formation of the gentleman, Shaftesbury intended to revamp the cultural politics of contemporary English society in the mould of his Whiggish ideologies. Deep inside, his conception of politeness was essentially patrician and he never imagined anybody but the landed aristocracy entering the society of the truly polite. In this regard, he was a genuine heir to the British version of civic humanism whereby public virtue was only to be entrusted in the hands of independent propertied people. Visual arts were conferred a role to play in his vision of aristocratic polite society, not on account of their capacity to move people in their own but on account of their usefulness to cultivate public taste. Analyzing the double portrait of Shaftesbury and his brother, Maurice, this paper concludes to suggest that the portrait is both an unassailable personification of civic humanist ideal of polite conversation and a signifier of doomed aristocratic hegemony.

참고문헌 (Reference)

1 Cooper, Anthony Ashley, "third Earl of Shaftesbury, Second Characters or the Language of Forms" Cambridge University Press 1914

2 Klein, Lawrence, "[http : //www. oxforddnb" Oxford University Press

3 Pestilli, Livio, "Ut Pictura Non Poesis : Lord Shaftesbury’s ‘Ridiculous Anticipation of Metamorphosis’ and the Two Versions of ‘Diana and Actaeon’ by Paolo de Matteis" 14 (14): 131-139, 1993

4 Klein, Lawrence, "The Third Earl of Shaftesbury and the Progress of Politeness" 18 (18): 186-214, 1985

5 West, Shearer, "The Public Nature of Private Life: The Conversation Piece and the Fragmented Family" 18 (18): 153-172, 1995

6 Barrell, John, "The Political Theory of Painting from Reynolds to Hazlitt : ‘The Body of the Public’" Yale University Press 1986

7 Cannon, John, "The Oxford Companion to British History" Oxford University Press 1997

8 Chaves, Joseph Michael, "The Domestication of Politeness, 1711-1784" Rutgers University 2003

9 Blanning, T. C, "The Culture of Power and the Power of Culture: Old Regime Europe 1660-1789" Oxford University Press 2002

10 Costelloe, Timothy, "The British Aesthetic Tradition : From Shaftesbury to Wittgenstein" Cambridge University Press 2013

11 Kelly, Ann, "Swift’s ‘Polite Conversation’: An Eschatological Vision" 73 (73): 204-224, 1976

12 Sweetman, J. E., "Shaftesbury’s Last Commission" 19 : 110-116, 1956

13 Paknadel, Felix, "Shaftesbury’s Illustrations of Chatacteristics" 37 : 290-312, 1974

14 Bernstein, John, "Shaftesbury’s Identification of the Good with the Beautiful" 10 (10): 304-325, 1977

15 Mannings, David, "Shaftesbury, Reynolds and the Recovery of Portrait-Painting in Eighteenth-Century England" 48 (48): 319-328, 1985

16 Wind, Edgar, "Shaftesbury as a Patron of Art" 2 (2): 185-188, 1938

17 Klein, Lawrence, "Shaftesbury and the Culture of Politeness : Moral Discourse and Cultural Politics in Early Eighteenth-Century England" Cambridge University Press 1994

18 Cowan, Brian, "Reasonable Ecstasies: Shaftesbury and the Language of Libertinism" 37 (37): 111-138, 1998

19 Klein, Lawrence, "Politeness and the Interpretation of the British Eighteenth Century" 45 (45): 869-898, 2002

20 Leatherbarrow, David, "Plastic Character, or How to Twist Morality with Plastics" 21 : 124-141, 1992

21 Solkin, David, "Painting for Money : The Visual Arts and the Public Sphere in Eighteenth-Century England" Yale University Press 1992

22 Stolnitz, Jerome, "On the Significance of Lord Shaftesbury in Modern Aesthetic Theory" 11 (11): 97-113, 1961

23 Stolnitz, Jerome, "On the Origins of Aesthetic Disinterestedness" 20 (20): 131-143, 1961

24 Mount, Harry, "Morality, Microscopy and the Moderns: the Meaning of Minuteness in Shaftesbury’s Theory of Painting" 21 (21): 125-141, 1998

25 O’Connell, Sheila, "Lord Shaftesbury in Naples : 1711-1713" 54 : 149-219, 1988

26 Klein, Lawrence, "Liberty, Manners, and Politeness in Early Eighteenth-Century England" 32 (32): 583-605, 1989

27 Gibson-Wood, Carol, "Jonathan Richardson : Art Theorist of the English Enlightenment" Yale University Press 2000

28 Rogers, Malcolm, "John and John Baptist Closterman : A Catalogue of their Works" 49 : 210-299, 1983

29 Harris, Tim, "Cooper, Anthony Ashley, first earl of Shaftesbury (1621-1683)" Oxford University Press

30 D’Oench, Ellen, "Conversation Piece" Oxford University Press

31 Benjamin Land, "Characteristics of Men, Manners, Opinions, Times" Cambridge University Press 1999