The Return of the Visible in British RomanticismJohns Hopkins University Press, 1993 - 327 pages 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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Page 19
... material world to conceptu- alization ( and vice versa ) , than for its reversal of the imaginative iconoclasm - that is , the fear of both visual images and the material world such images admit - endemic to romantic poetics . ' Unlike ...
... material world to conceptu- alization ( and vice versa ) , than for its reversal of the imaginative iconoclasm - that is , the fear of both visual images and the material world such images admit - endemic to romantic poetics . ' Unlike ...
Page 232
... material life , gains a certain detachment from nature , which he then makes use of only so as to return to nature and make it the object of profound and devout contemplation " ( Wollheim , 133 ) , is with almost equal regularity ...
... material life , gains a certain detachment from nature , which he then makes use of only so as to return to nature and make it the object of profound and devout contemplation " ( Wollheim , 133 ) , is with almost equal regularity ...
Page 236
... material life " as well as from the romantic disentangle- ment with the material - is possible insofar as the world before such a figure remains , as Friedrich previously enjoined , a world seen . Or to put it another way : the world ...
... material life " as well as from the romantic disentangle- ment with the material - is possible insofar as the world before such a figure remains , as Friedrich previously enjoined , a world seen . Or to put it another way : the world ...
Contents
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 |
Copyright | |
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Common terms and phrases
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