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 142
... Nature , which of you copied from the other ! would not be misapplied to Shakespear " ( 4 : 183 ) ; or that " the capacious soul of Shakespear had an intuitive and mighty sympathy with whatever could enter into the heart of man in all ...
... Nature , which of you copied from the other ! would not be misapplied to Shakespear " ( 4 : 183 ) ; or that " the capacious soul of Shakespear had an intuitive and mighty sympathy with whatever could enter into the heart of man in all ...
Side 191
... nature . It is not necessary to engage in a complete reading of the dialogue on the theater , which ranges , in any case , from the contemporary appetite for narrative or story to the demand for sensation and spec- tacle , before ...
... nature . It is not necessary to engage in a complete reading of the dialogue on the theater , which ranges , in any case , from the contemporary appetite for narrative or story to the demand for sensation and spec- tacle , before ...
Side 231
... nature in its pietistic pas- sage from the particular to the universal . In other words , while we are inclined as external viewers to regard nature with a bodily eye ( or with what Wollheim , to distinguish it from a subjective or ...
... nature in its pietistic pas- sage from the particular to the universal . In other words , while we are inclined as external viewers to regard nature with a bodily eye ( or with what Wollheim , to distinguish it from a subjective or ...
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 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 |