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
... importance of the invisible, of what eludes sight, to the new configurations of the visible made possible by visual ... important not only for the contentious debates it has fuelled over the relative value of the imagined (the visionary) ...
... important reflections , not only for their attempt to think through the relation of the visible to the imaginary , but because the audience for whom Diderot was writing did not and probably would not ever see the original artworks for ...
... importance of visibility, and the perhaps more prevalent drive toward specularity. Interest in the unconscious, in mysteries of identity, in what lies buried under cities such as London: all of these suggest a potent threat implicit in ...
... important caveat . The visual doesn't simply return in the Romantic period like that repressed other , but is made . Its apparent basis in the " real " is one of the important things that Romantic engagements with the visual interrogate ...
... important conceptual category, and a powerful metaphor, as well as a “ubiquitous form of print culture” (10). The space of the exhibition gallery becomes central to the articulation of this emergent visual, and social, paradigm, and a ...
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 | |