Romanticism and Visuality: Fragments, History, SpectacleRoutledge, 2007 M12 12 - 246 pages This book investigates the productive crosscurrents between visual culture and literary texts in the Romantic period, focusing on the construction and manipulation of the visual, the impact of new visual media on the literary and historical imagination, and on fragments and ruins as occupying the shifting border between the visible and the invisible. It examines a broad selection of instances that reflect debates over how seeing should itself be viewed: instances, from Daguerre's Diorama, to the staging of Coleridge's play Remorse, to the figure of the Medusa in Shelley's poetry and at the Phantasmagoria, in which the very act of seeing is represented or dramatized. In reconsidering literary engagements with the expanding visual field, this study argues that the popular culture of Regency Britain reflected not just emergent and highly capitalized forms of mass entertainment, but also a lively interest in the aesthetic and conceptual dimensions of looking. What is commonly thought to be the Romantic resistance to the visible gives way to a generative fascination with the visual and its imaginative--even spectacular--possibilities. |
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... ( London , 1782 ) . Yale Center for British Art , Paul Mellon Collection . Figure Claude Glass . V & A Images / Victoria & Albert Museum , London . 1.2 . Figure 1.3 . Robert Mitchell , Section of the Rotunda , Leicester Square , in which ...
... London 2007 . 4.4 . Figure Giovanni Battista Piranesi , Interior of the Colosseum . Veduta di Roma / Views of Rome , 1748-1778 . © The Trustees of the British Museum . 4.5 . Figure J. M. W. Turner , Ancient Rome ; Agrippina landing with ...
... London. That looking had become, as noted above, highly mediated and self-conscious, is particularly evident in how it became itself the focus of numerous visual representations: in the often satiric prints of the crowded summer ...
... London , the spectacles of the great metropolis are encountered and recorded in all their dizzying manifestations . Along with London's imposing physical sights , such as St. Paul's , Wordsworth attends - perhaps more closely - to ...
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Contents
The Fragment in Ruins | |
Ruins History Museums | |
Romantic Idealism and the Interference of Sight | |
The Diorama the Double and the Gothic Subject | |
Coleridge Schiller and the play of Semblance | |
Shelley Medusa and the Phantasmagoria | |
Notes | |
Bibliography | |
Index | |