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 86
... Poetics, Politics Edited by Nicholas Roe 3. Leigh Hunt and the London Literary Scene A Reception History of his Major Works, 1805-1828 Michael Eberle-Sinatra 4. Tracing Women's Romanticism Gender, History and Transcendence Kari E. Lokke ...
... poetic subjectivity dramatised by Wordsworth's " Tintern Abbey ” that “ half- perceives and half creates . " The effect of that imaginative appropriation , by which the visible becomes the Freudian " familiar thing that has undergone ...
... poet surveys a landscape , and it suggests the enlarged vision and depth of understanding with which education and class ... poetic I , or between the proprietary eye and the literary eye , shows that these are neither exclusive nor ...
... poetics of the sublime , and they were often scathing about the picturesque , largely because of its inherently imitative practices . The picturesque reflected aesthetic principles derived from a particular practice of painting , and ...
... poet, discussed at more length here in Chapter 5, as one who must “strip away the veils of familiarity” that impede clear-sightedness in a conceptual sense too. One must, by this logic, be surprised into seeing things as they are, and ...
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 | |