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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... 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 devices and entertainments that ...
... visible” and are implicit in the attention throughout to the border between the visible and the invisible. Nowhere though is this border more potent than in instances of fragmentation and ruin, where an object (or indeed an idea) is ...
... visible is shaped by the invisible, and with it, brings into view the limits of what can be perceived. I. It is the central contention of this study that representations of seeing, and displays of the “invisible,” speak for an acute ...
... visible in the form of sensational realism is part of a wider resistance to the visible that is also explored by William Galperin , who argues in The Return of the Visible in British Romanticism that " the visible is the central and ...
Fragments, History, Spectacle Sophie Thomas. mechanisms by which Galperin shows the visible erupting or returning under pressure of resistance have been shaping forces in our understanding of the period . And yet , engagement with the ...
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 | |