Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures that were exhibited in London in 1799 and 1800. Starting from Fuseli's adaptation, Luisa Cal analyzes how visual practices impact on the act of reading and calls into question the separation of reading and viewing as autonomous aesthetic practices.
Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures that were exhibited in London in 1799 and 1800. Starting from Fuseli's adaptation, Luisa Cal analyzes how visual practices impact on the act of reading and calls into question the separation of reading and viewing as autonomous aesthetic practices.
Luisa Calè is a Lecturer in the School of English and Humanities at Birkbeck College, University of London. She studied at the Universities of Rome 'La Sapienza', Genoa, and Oxford, and was a Junior Research Fellow at University College Oxford.
Inhaltsangabe
Introduction: Turning Readers into Spectators 1: The Literary Galleries, the Market, and the Field of Art 2: The Spectator Turned Reader: Printed Text at the Galleries 3: The Reader Turned Spectator: Visual Narratives 4: 'Satan encount'ring Death, Sin interposing': Miltons Allegory and the Politics of Seeing 5: The Plot of Adam and Eve Conclusion Appendix: 'List of the Pictures in the Milton Gallery'
Introduction: Turning Readers into Spectators 1: The Literary Galleries, the Market, and the Field of Art 2: The Spectator Turned Reader: Printed Text at the Galleries 3: The Reader Turned Spectator: Visual Narratives 4: 'Satan encount'ring Death, Sin interposing': Miltons Allegory and the Politics of Seeing 5: The Plot of Adam and Eve Conclusion Appendix: 'List of the Pictures in the Milton Gallery'
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