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The poetics of sensibility has been long ignored out of a blind defense of the classical tradition. However, a careful reconsideration is in order. The poetics of sensibility developed new modes of expression through opposing the traditional view of reason, by suggesting that it could no longer serve a truly rational mind. Philosophers, such as David Hume and Adam Smith defined reason as inactive, because it can never be a source of the conscience or moral. However, "sensibility," as a very powerful emotional principle in human nature, has a great influence on our judgment of beauty and morals. Thus, morality and emotion are directly connected with the poetics of sensibility. In the poetics of sensibility, a person's value is defined by neither social position nor even accomplishment, but by their capacity for feeling.
The poetry of sensibility is basically a literature of an expression of "spontaneous feeling" of the heart. In the last part of the 18th century, it poured from women's emotional experiences on the margins of culture, especially in the outlying provinces. Ann Yearsley incorporated the language of sensibility into her work though she was doubly disadvantaged in the literary world; she was a woman without formal education. In Yearsley's poems, sensibility takes the form of an endless emotional struggle between herself and her privileged supporters, especially the overzealous support of Hannah More. Anna Barbauld challenges male dominated values with shadowy meaning at its core by showing a portrayal of alienated sensibility through the description of daily details. Barbauld's poetic sensibility is developed into moral sensibility by conscience and sympathy.
In the poetics of sensibility, the aim of art is to affect through sympathy and not by imitation. Women poets are sympathetic to distress and victimization, with a profound emotion of being themselves dispossessed. Women poets' poetics of sensibility is radical in that it favors reform through its emphasis on victims, and questions the established hierarchies of birth and gender. Women poets created poetry in a time limited by the dominion of male values, and in doing so sought an appropriate medium to allow readers to step out of the logical confines of the mind into the feeling sensibilities of the heart.
The poetry of sensibility is basically a literature of an expression of "spontaneous feeling" of the heart. In the last part of the 18th century, it poured from women's emotional experiences on the margins of culture, especially in the outlying provinces. Ann Yearsley incorporated the language of sensibility into her work though she was doubly disadvantaged in the literary world; she was a woman without formal education. In Yearsley's poems, sensibility takes the form of an endless emotional struggle between herself and her privileged supporters, especially the overzealous support of Hannah More. Anna Barbauld challenges male dominated values with shadowy meaning at its core by showing a portrayal of alienated sensibility through the description of daily details. Barbauld's poetic sensibility is developed into moral sensibility by conscience and sympathy.
In the poetics of sensibility, the aim of art is to affect through sympathy and not by imitation. Women poets are sympathetic to distress and victimization, with a profound emotion of being themselves dispossessed. Women poets' poetics of sensibility is radical in that it favors reform through its emphasis on victims, and questions the established hierarchies of birth and gender. Women poets created poetry in a time limited by the dominion of male values, and in doing so sought an appropriate medium to allow readers to step out of the logical confines of the mind into the feeling sensibilities of the heart.
목차
Ⅰ. 시작하는 말
Ⅱ. 감수성의 철학적 배경과 공감이론
Ⅲ. 여성의 글쓰기와 일상적 가치
Ⅳ. 맺는 말
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