By Misty G. Anderson
In the eighteenth century, British Methodism used to be an item of either derision and hope. Many renowned eighteenth-century works ridiculed Methodists, but usually the exact same performs, novels, and prints that solid Methodists as primitive, irrational, or deluded additionally betrayed a thinly cloaked fascination with the reports of divine presence attributed to the hot evangelical circulation. Misty G. Anderson argues that writers, actors, and artists used Methodism as an idea to interrogate the bounds of the self and the fluid relationships among faith and literature, among cause and exuberance, and among theater and trust.
Imagining Methodism situates works by means of 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 with the intention to know how Methodism's model of "experimental faith" used to be either born of the trendy international and perceived as a risk to it.
Anderson's research of reactions to Methodism exposes a sophisticated interlocking photograph of the non secular and the secular, phrases much less obvious than they appear in present severe utilization. Her argument isn't concerning the lives of eighteenth-century Methodists; relatively, it truly is approximately Methodism because it was once imagined within the paintings of eighteenth-century British writers and artists, the place it served as an indication of sexual, cognitive, and social threat. by means of situating satiric photos of Methodists of their renowned contexts, she recaptures a energetic 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, non secular reports, theater, and the historical past of gender.
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