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 31
... romantic painting and aesthetics saw to it , in effect , that sensory perception and the representation of it were ideally indistinguishable . To represent and to reconstitute the world seen , according to romantic dogma , is no ...
... romantic painting and aesthetics saw to it , in effect , that sensory perception and the representation of it were ideally indistinguishable . To represent and to reconstitute the world seen , according to romantic dogma , is no ...
Side 132
... romantic subject , the romantic aversion to theater is , at least in part , an aversion to that structural mandate as well . That romantic antitheatricality ultimately represents an aversion to the box and the pit alike , to an ...
... romantic subject , the romantic aversion to theater is , at least in part , an aversion to that structural mandate as well . That romantic antitheatricality ultimately represents an aversion to the box and the pit alike , to an ...
Side 133
William H. Galperin. " romantic ideology " during this period , remains in the vicissitudes of romantic antitheatricality - and in the visible world it alternately sub- stitutes for the actual theater — a prelude rather than a dead end ...
William H. Galperin. " romantic ideology " during this period , remains in the vicissitudes of romantic antitheatricality - and in the visible world it alternately sub- stitutes for the actual theater — a prelude rather than a dead end ...
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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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 |