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 35
... Beauty ; Made in the Summer of the Year 1770 > ( 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 ...
... beauty entail? According to Adorno, “For it, nature is exclusively appearance, never the stuff of labour and the reproduction of life, let alone the substratum of science. Like the experience of art, the aesthetic experience of nature ...
... Beauty ; Made in the Summer of the Year 1770 ( London , 1782 ) . Yale Center for British Art , Paul Mellon Collection Along with the fashion for the picturesque came the phenomenon of the picturesque tour , for the picturesque not only ...
... Beauty — and the Images of this divine kalokagathón are miniaturized on the mind of the beholder , as a Landscape on a Convex Mirror . Coleridge , here , would also seem to have Hartley's theory of associationism in mind , which sought ...
... beauty : Should we wish to give it [ an elegant piece of Palladian architecture ] picturesque beauty , we must use the mallet , instead of the chisel : we must beat down one half of it , deface the other , and throw the mutilated ...
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 | |