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 92
... scene is visible , is sustained rather than unfixed . Thus , the dog also bears a peculiar relation to the actual hu ... scene to prohibit the viewer's absorption in kind . Like the dog , in fact , who can be said to have gotten into the ...
... scene is visible , is sustained rather than unfixed . Thus , the dog also bears a peculiar relation to the actual hu ... scene to prohibit the viewer's absorption in kind . Like the dog , in fact , who can be said to have gotten into the ...
Side 231
... scene . The dis- ruptive 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 ...
... scene . The dis- ruptive 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 ...
Side 313
... scene eliciting the mood that takes prominence , a scene often only dimly vis- ible beyond the figure , than the emotional experience of the Sprecher himself , the Romantic persona projected into the canvas , soliciting our respect for ...
... scene eliciting the mood that takes prominence , a scene often only dimly vis- ible beyond the figure , than the emotional experience of the Sprecher himself , the Romantic persona projected into the canvas , soliciting our respect for ...
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 |