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 55
... Light and Shadow : Archaeology of the Cinema ( Exeter , UK : University of Exeter Press , 2000 ) . 8.3 . Figure 8.4 . Figure 8.5 . Paul de Philipsthal , 1802 Showbill . Reproduced courtesy of The Magic Lantern Society . Thomas ...
... light and shade, the introduction of novelty, and a style of execution that was broad and free (see Figure 1.1). In his essay on picturesque beauty, William Gilpin argued that the picturesque perspective is on the whole broad and ...
... light and shade became visible , with the result that the scene resembled a Claude painting . Gilpin recommended the use of the glass , on the grounds that it would give an object " a soft , mellow tinge like the colouring of that ...
... light to create novel effects. For example, a yellow or “sunrise” glass cast a “reddish twilight” over a scene at noon, “'without the obscuration of the morning mist'”; blue-or grey-tinted glass would cast a distinctly lunar light over ...
... light in as natural a way as possible. Ruskin explicitly disparaged the mirror for its lack of differentiation in effect (all colours and tones were “universally polluted with black”), and because it counteracted the fundamental ...
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 | |