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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... Aesthetics in literature . 6. Romanticism -- Great Britain . I. Title . PR468.A76T47 2007 820.9'357 - dc22 ISBN13 : 978-1-135-89930-1 ePub ISBN ISBN10 : 0-415-96118-1 ( hbk ) ISBN10 : 0-203-93782-1 ( ebk ) ISBN13 : 978-0-415-96118-9 ...
... aesthetic and conceptual dimensions of looking. If at this time the English became a nation of “starers” I suggest that this was because the creation and control of the visual field was part of the novelty, part of what was being made ...
... aesthetic models, and in a literary culture that, at first sight, denigrates the visual. The former, at least, is not an entirely new development in the period, for as Peter de Bolla's work has shown, it was in the middle years of the ...
... aesthetic ideology is really a reaction not, or not only, to the Enlightenment rationalism of the eighteenth century, but to the coming into being of the visual culture of modernity, with the profound and at times perplexing paradigm ...
... aesthetic " play of semblance " that theatrical illusion makes possible , and embraces rather willingly the sensational new contrivances of Georgian stagecraft . The relationship of visual deception to the ethical rehabilitation of the ...
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 | |