Beautiful Soul

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A01=Robert E. Norton
aesthetic beauty
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Author_Robert E. Norton
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Category1=Non-Fiction
Category=DSBD
Category=HBG
Category=HP
Category=JFCX
Category=NHB
Category=QDH
Category=QDTQ
COP=United States
cultural ideals in the eighteenth century
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enlightenment
enlightenment ethics
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eq_biography-true-stories
eq_history
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eq_nobargain
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German pietism
humanity in the eighteenth century
Language_English
moral beauty
moral philosophy
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Price_€20 to €50
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softlaunch

Product details

  • ISBN 9781501768224
  • Weight: 907g
  • Dimensions: 152 x 229mm
  • Publication Date: 15 Oct 2022
  • Publisher: Cornell University Press
  • Publication City/Country: US
  • Product Form: Paperback
  • Language: English
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For many eighteenth-century European philosophers and writers, the beautiful soul was a symbol of enlightened humanity, carrying with it the possibility that aesthetic beauty and moral goodness would be fused in a new, indivisible unity. In the first book in English on the subject, Robert E. Norton follows the fortunes of this cultural icon, exploring the reasons for both its initial popularity and its subsequent decline as a cultural ideal during the Enlightenment.

Tracing the emergence of the notion of moral beauty as it first appears in the late seventeenth and early eighteenth centuries, Norton maintains that the attempt to combine the good and the beautiful was a response to the rise of secular authority. He draws on English, French, and German sources to show how writers in various intellectual traditions united philosophical, theological, and cultural themes in their elaboration of the beautiful soul.

In Norton's view, this articulation of the beautiful soul was so persuasive that, by the second half of the eighteenth century, some version of moral beauty was introduced in nearly every discussion of morality. While writers such as Wieland, Rousseau, and Goethe employed the beautiful soul as a moral and aesthetic ideal in fiction, thinkers such as Kant explored it in philosophical works. Norton ends by demonstrating how the figure of the beautiful soul achieved its foremost expression in Schiller's writings and was definitively rejected in Hegel's Phenomenology.

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