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 231
... figure , then , does more than disrupt Friedrich's natural scene in the same way that the painter confessedly marks or reinvents such a scene by the interposition of a human figure ; the disruptive figure also interrupts the ...
... figure , then , does more than disrupt Friedrich's natural scene in the same way that the painter confessedly marks or reinvents such a scene by the interposition of a human figure ; the disruptive figure also interrupts the ...
Side 232
... figure - effectively usurps or appropriates that pietistic stance . Such a figure is , as Wollheim interprets him , a visual token of the internal viewer , and of the difference separating such a viewer from a comparatively unregenerate ...
... figure - effectively usurps or appropriates that pietistic stance . Such a figure is , as Wollheim interprets him , a visual token of the internal viewer , and of the difference separating such a viewer from a comparatively unregenerate ...
Side 242
... figure of the maid . Re- calling the lovely Maid " seated alone beneath a darksome tree " ( 2 ) Wordsworth juxtaposes the memory of her - the " bright corporeal presence - form and face " ( 9 ) —to her " dissolution " ( 14 ) as a memory ...
... figure of the maid . Re- calling the lovely Maid " seated alone beneath a darksome tree " ( 2 ) Wordsworth juxtaposes the memory of her - the " bright corporeal presence - form and face " ( 9 ) —to her " dissolution " ( 14 ) as a memory ...
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 |
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absorption according actual aesthetic antitheatricality apostasy appear argue authority Barker beholder Biographia Biographia Literaria Burke Byron canto Caspar David Friedrich character Childe Harold Childe Harold's Pilgrimage cinema Coleridge Coleridge's Constable Constable's Coriolanus criticism critique deconstructive describes difference Diorama disruptive Don Juan effect equally essay example fact figure film Friedrich function gaze genius Hamlet Hay-Wain Hazlitt human humanistic ideal imagination individual interpellated Jacobinism John Constable Kean Kean's Kemble Lady Morgan Lamb Lamb's landscape less London M. H. Abrams mantic McGann mind narrative narrator nature necessarily Nevertheless object observes painter painting Panorama paradoxically particular poem Poet poet's poetic poetry position postmodern Prelude reader reading reality regarding representation represented resistance Revolution romantic romanticism Satyrane Satyrane's scene sense Shakespeare sight simply speaker spectacle subject-position symbolic theater theatricality things tion turn ultimately University Press viewer virtually visible vision visual William Wordsworth Wollheim words 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 |