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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... Remains , 1858. V & A Images / Victoria & Albert Museum , London . 4.10 . Figure Arthur Ashpitel , Rome as it is , from the Palatine Hill , 1859. V & A Images / Victoria & Albert Museum , London . 4.11 . Figure Diorama , Park Square ...
... remains of castles , and abbeys ” —with its evocative antiquarian appeal.5 Ruins are inherently better suited to picturesque representation , by this logic , than intact examples of classical beauty : Should we wish to give it [ an ...
... remains thrown up or dug up from long burial underground. This interest had a literary component too, for example, in Percy's published Reliques of Ancient English Poetry, or in Walter Scott's ballad collecting. The impulse to collect ...
... remains while they were still very much alive. Meanwhile, popular sentimental novels of the eighteenth century, such as those of Sterne and Mackenzie, which skillfully made use of the fragment for both comic and emotional effect, also ...
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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 | |