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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... writing from the publishers . Trademark Notice : Product or corporate names may be trademarks or registered trademarks , and are used only for identification and explanation without intent to infringe . Library of Congress Cataloging in ...
... writing about the status of the visual in literary texts. It interrogates a number of disputes over how seeing ... writers to the expanding field of the visual is important not only for the contentious debates it has fuelled over the ...
... writing did not and probably would not ever see the original artworks for themselves . His Salon commentaries were thus a substitute , a supplement , for sight , and as Thomas Crow has argued , this absence or disappearance of the ...
... writing of the period. However, this study further contends that those visual modes were conceived in terms that emphasized, in a thematic as well as material way, the very nature and limits of visuality. Adapting a formulation from ...
... writers of both genders . Labbe's study is only one example , however , of how visual paradigms can structure specific readings of Romantic texts . Anne McWhir , comparing Mary Shelley's Frankenstein to her later novel , The Last Man ...
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 | |