This book investigates the productive crosscurrents between visual culture and literary texts in the Romantic period, focusing on the construction and manipulation of the visual, the impact of new visual media on the literary and historical imagination, and on fragments and ruins as occupying the shifting border between the visible and the invisible.
This book investigates the productive crosscurrents between visual culture and literary texts in the Romantic period, focusing on the construction and manipulation of the visual, the impact of new visual media on the literary and historical imagination, and on fragments and ruins as occupying the shifting border between the visible and the invisible.
Sophie Thomas is Lecturer in English at the University of Sussex and taught previously at the University of Toronto. She is the author of articles on English Romanticism and visual culture and is working on a new book about fragments.
Inhaltsangabe
Preface and Acknowledgments List of Illustrations 1. (Introduction) Regarding Visuality: From the Picturesque to the Panorama 2. 'Shadows of a Magnitude': Keats, Fragments, and Vision 3. The Fragment in Ruins 4. Seeing Past Rome: Ruins, History, Museums 5. Romantic Idealism and the Interference of Sight 6. Making Visible: The Diorama, the Double, and the Gothic Subject 7. Seeing Things ("as they are"): Coleridge, Schiller, and the Play of Semblance 8. Vision and Revulsion: Shelley, Medusa, and the Phantasmagoria Notes Bibliography Index
Preface and Acknowledgments List of Illustrations 1. (Introduction) Regarding Visuality: From the Picturesque to the Panorama 2. 'Shadows of a Magnitude': Keats, Fragments, and Vision 3. The Fragment in Ruins 4. Seeing Past Rome: Ruins, History, Museums 5. Romantic Idealism and the Interference of Sight 6. Making Visible: The Diorama, the Double, and the Gothic Subject 7. Seeing Things ("as they are"): Coleridge, Schiller, and the Play of Semblance 8. Vision and Revulsion: Shelley, Medusa, and the Phantasmagoria Notes Bibliography Index
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