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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... Sight 6 Making Visible : The Diorama , the Double , and the Gothic Subject 7 Seeing Things ( " As They Are " ) : Coleridge , Schiller , and the play of Semblance 8 Vision and Revulsion : Shelley , Medusa , and the Phantasmagoria Notes ...
... sight, to the new configurations of the visible made possible by visual technology. The late eighteenth century appears remarkable to us now for the rapid and diverse expansion of the visual field, not only in the development of visual ...
... sight , so to speak , a comprehensive word - 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 ...
... sight, denigrates the visual. The former, at least, is not an entirely new development in the period, for as Peter de Bolla's work has shown, it was in the middle years of the eighteenth century that “the culture of visuality” became ...
... sight in literary texts of the period argues, moreover, for an interest in acts of seeing that intersected, often producing conflicting effects, with a correspondent interest in acts of the imagination. In the Romantic period, there is ...
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 | |