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
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... 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 5. Metaphysical Hazlitt Bicentenary Essays Uttara Natarajan, Tom Paulin and ...
... scene with chalet . Gernsheim Collection , Harry Ransom Humanities Research Center , The University of Texas at Austin . Figure J. L. M. Daguerre , double illustration of Alpine scene with chalet . Gernsheim Collection , 6.3 . Harry ...
... scene of nature,” made to look most “'like herself,'” but at the same time, to appear as a spontaneous presentation or offering to the human onlooker.28 The most surprising and natural-seeming vista is thus likely to be the most ...
... scene from a particular spot or station was established.29 Tourists re - created ( visually , and at times perhaps slavishly ) the experience represented and recommended by the text . Romantics writers , by contrast , are generally ...
... scene at noon, “'without the obscuration of the morning mist'”; blue-or grey-tinted glass would cast a distinctly lunar light over the same midday prospect.36 What this meant for tourists passing briefly by was the ability to transcend ...
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 | |