The Return of the Visible in British RomanticismJohns Hopkins University Press, 1993 - 327 sider In this path-breaking study William Galperin offers a major revisionist reading of Romanticism that emphasizes the visible - as opposed to visionary - impulse in British Romantic poetry and prose. Employing a wide variety of theoretical insights, Galperin shows not only that the visual impulse is central to an understanding of Romanticism but also that the Romantic preoccupation with the "world seen" forms an integral part of the prehistory of cinema. Galperin challenges the assumption that a single philosophy characterized the art and culture of high Romanticism. Instead, he argues, the culture of the period - both high and low - was a site of competing ideas. From the poetry of Wordsworth and Byron to the painting of John Constable and Caspar David Friedrich to the precinematic institutions of the panorama and the diorama, The Return of the Visible in British Romanticism lends new vigor to ongoing debates about the nature of Romanticism lends new vigor to ongoing debates about the nature of Romanticism, nineteenth-century culture, and the origins of cinema. |
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Side 144
... Kean , but more importantly as a defense of acting . For in his particular celebration of Kean , Hazlitt establishes a via media between genius and the body - or between the invisible and the visible - by which the body on stage is ...
... Kean , but more importantly as a defense of acting . For in his particular celebration of Kean , Hazlitt establishes a via media between genius and the body - or between the invisible and the visible - by which the body on stage is ...
Side 149
... Kean - Kean simply adds to the character , whereas Kemble " unavoidably fails " in the role - most important in this com- parison is the visible field into which Kemble , in particular , casts the hero . Where Kean's performance is ...
... Kean - Kean simply adds to the character , whereas Kemble " unavoidably fails " in the role - most important in this com- parison is the visible field into which Kemble , in particular , casts the hero . Where Kean's performance is ...
Side 155
... Kean who illustrated this last point ? Whose performance in Coriolanus , with its notably aristocratic bearing , would prove a deconstruction of Kean's mediation ? The answer rests with Kean himself , whose contra- dictory disposition ...
... Kean who illustrated this last point ? Whose performance in Coriolanus , with its notably aristocratic bearing , would prove a deconstruction of Kean's mediation ? The answer rests with Kean himself , whose contra- dictory disposition ...
Innhold
The Romantic Visible and the Visibly Romantic | 17 |
Robert Mitchell Section of the Rotunda Leicester Square | 39 |
Henry Aston Barker and John Burnet after Barker Explanation | 45 |
Opphavsrett | |
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Vanlige uttrykk og setninger
absorption according actual appear argue authority becomes begins beholder Biographia body Byron calls canto character Childe clearly Coleridge Coleridge's Constable continually course criticism describes difference Diorama discussion distinction distinguished earlier effect equally evident example experience fact figure Friedrich function genius Hamlet Harold Hazlitt human ideal imagination important individual initial interest involves Juan Kean Lamb later less letter light London material matter means merely mind narrative nature necessarily Nevertheless object observes opposed opposition painter painting Panorama particular performance play poem Poet poetic poetry position possible Prelude present reader reading reality reference regarding remains representation represented resistance romantic romanticism Satyrane scene seen sense Shakespeare shows sight simply social speaker spectacle sufficiently symbolic theater theatricality things tion turn ultimately University Press Unlike various viewer virtually visible vision Wordsworth writing
Referanser til denne boken
The Shock of the Real: Romanticism and Visual Culture, 1760-1860 Gillen D'Arcy Wood Ingen forhåndsvisning tilgjengelig - 2001 |