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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... picture research, I would like to thank Lucy Jenkins. I would also like to thank the editorial and production team at Routledge, for their interest in the project and for their extraordinary efficiency and helpfulness. I am most deeply ...
... picture emerges of Robert's painting . Diderot , however , uses this instance — it is not clear whether it is the painting or his description itself that is the subject of his reflections - as an example of the problems both of ...
... Pictures Want?, I argue that what is at stake is how seeing itself should be seen—and shown.8 Recent studies have begun to explore the significance of prominent visual modes for larger cultural debates. Gillen D'Arcy Wood, for example ...
... picture ( recalling , for a moment , Diderot's “ small ruin " ) conditions its verbal representation . The familiar premise of ut pictura poesis - as a painting , so also a poem - underwent a decisive modification in the eighteenth ...
... picture” in picturesque has potentially self-consuming implications, and perhaps this, along with the diversity of simulated visual experience made possible with Claude mirrors and glasses, contributed to the increasing vagueness 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 | |