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. |
From inside the book
Results 1-5 of 69
... Wordsworth and Shelley's different modes of visual idealism, to the staging of the visual in Coleridge's play Remorse, to the figure of the Medusa in Shelley and at the phantasmagoria, to Keats's exploration of vision and visibility in ...
... Wordsworth's " Tintern Abbey ” that “ half- perceives and half creates . " The effect of that imaginative appropriation , by which the visible becomes the Freudian " familiar thing that has undergone repression , " mandates its return ...
... Wordsworth was to denounce in The Prelude as “a strong infection of the age.” 23 Theories of the picturesque, in general, mediated between the more established aesthetic categories of the sublime and the beautiful, making a place for ...
... Wordsworth benefited most financially was not a volume of poems , but his Guide to the Lakes - a text accompanied in its first edition by a series of picturesque landscape engravings by the Reverend Joseph Wilkinson . " 31 The visual ...
... Wordsworth claimed in the 1802 preface to Lyrical Ballads , one aim of the poems in that collaborative collection was to throw over " incidents and situations from common life ... a certain colouring of imagination .
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 | |