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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... show itself” that are central to our understanding of Romantic literature and culture, and it assesses the importance of the invisible, of what eludes sight, to the new configurations of the visible made possible by visual technology ...
... Show , frontispiece to Etienne - Gaspard Robertson's Mémoires récréatifs , scientifiques , et anecdotiques d'un physicien - aéronaute ( Paris , 1830-1834 ) . © The British Library Board . All rights reserved ( RB.23.a.28291 ) . Figure ...
... of high Romanticism , but is rather that something " whose essential nothingness is both provisional and , paradoxical as it sounds , foundational ” ( 4 ) . The mechanisms by which Galperin shows the visible erupting or returning.
... shows that these are neither exclusive nor identical , and Labbe investigates the manipulation of these prominent subject positions by writers of both genders . Labbe's study is only one example , however , of how visual paradigms can ...
... Shows of London. That looking had become, as noted above, highly mediated and self-conscious, is particularly evident in how it became itself the focus of numerous visual representations: in the often satiric prints of the crowded ...
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 | |