Download E-books Imagining Methodism in Eighteenth-Century Britain: Enthusiasm, Belief, and the Borders of the Self PDF
By Misty G. Anderson
In the eighteenth century, British Methodism used to be an item of either derision and hope. Many well known eighteenth-century works ridiculed Methodists, but frequently the exact same performs, novels, and prints that forged Methodists as primitive, irrational, or deluded additionally betrayed a thinly cloaked fascination with the studies of divine presence attributed to the hot evangelical move. Misty G. Anderson argues that writers, actors, and artists used Methodism as an idea to interrogate the limits of the self and the fluid relationships among faith and literature, among cause and exuberance, and among theater and trust.
Imagining Methodism situates works through Henry Fielding, John Cleland, Samuel Foote, William Hogarth, Horace Walpole, Tobias Smollett, and others along the contributions of John Wesley, Charles Wesley, and George Whitefield that allows you to know how Methodism's model of "experimental faith" was once either born of the trendy global and perceived as a risk to it.
Anderson's research of reactions to Methodism exposes a classy interlocking photograph of the non secular and the secular, phrases much less obvious than they appear in present severe utilization. Her argument isn't really concerning the lives of eighteenth-century Methodists; really, it's approximately Methodism because it used to be imagined within the paintings of eighteenth-century British writers and artists, the place it served as an indication of sexual, cognitive, and social chance. by means of situating satiric pictures of Methodists of their well known contexts, she recaptures a full of life cultural debate over the domain names of faith and literature within the smooth British mind's eye.
Rich in cultural and literary research, Anderson's argument could be of curiosity to scholars and students of the eighteenth century, spiritual experiences, theater, and the heritage of gender.
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