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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Fragments, History, Spectacle Sophie Thomas. Romanticism and Visuality Fragments , History , Spectacle Sophie Thomas ROUTLEDGE Routledge Taylor & Francis Group Romanticism and Visuality Routledge Studies in Romanticism 1. Keats's Boyish.
... spectacle and by those who responded by writing about the status of the visual in literary texts. It interrogates a number of disputes over how seeing should “show itself” that are central to our understanding of Romantic literature and ...
Fragments, History, Spectacle Sophie Thomas. Humanities at the University of Sussex made it possible to complete this work; and I would also like to acknowledge the British Academy, from whom I received a grant to cover the cost of the ...
... spectacle, display.” And this obsession is apparent in the extraordinary array of diversions available to the eighteenth-century spectator that he catalogues: public hangings (and other spectacles of punishment), theatrical performances ...
Fragments, History, Spectacle Sophie Thomas. 6 microscope and the photograph did little to resolve. Flint argues that a ... spectacle, and simulation. 9 Wood argues that when viewed in this context, much Romantic aesthetic ideology 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 | |