From the birth of the museum to the explosion of mass-produced illustrated books, the Romantic period (c. 1770-1840) was a moment of rapid change and fruitful experimentation in the fields of art and literature alike. New advances in print production encouraged a wider range of readers to engage with literary forms that opened a path into the once aristocratic field of the visual arts. This Companion captures the way recent engagements with visual studies have reshaped how we approach and understand the boundaries between print and visual culture in the period. It brings together 27 research-led chapters that offer a detailed account of the productive, if sometimes tense, interactions between emergent forms of intermedial expression that were redefining culture in the Romantic period -- as they continue to do today.
The only volume to comprehensively bring together developments from different disciplines that address the complex interplay between British Romantic literature and the visual arts
From the birth of the museum to the explosion of mass-produced illustrated books, the Romantic period (c. 1770-1840) was a moment of rapid change and fruitful experimentation in the fields of art and literature alike. New advances in print production encouraged a wider range of readers to engage with literary forms that opened a path into the once aristocratic field of the visual arts. This Companion captures the way recent engagements with visual studies have reshaped how we approach and understand the boundaries between print and visual culture in the period. It brings together 27 research-led chapters that offer a detailed account of the productive, if sometimes tense, interactions between emergent forms of intermedial expression that were redefining culture in the Romantic period -- as they continue to do today.
Arvustused
At last, proper emphasis is given to the interaction between print and the visual cultures of the Romantic period. Wonderfully comprehensive and authoritative, ranging from aesthetic discourse through exhibition practices, popular spectacle, the print shop, illustration, magazine culture and the afterlife of Romanticism in film. Inspirational and indispensable in equal measure. -- Nicola Watson, Open University
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vii | |
| Acknowledgements |
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xx | |
| Introduction |
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1 | (22) |
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1 `The happiest vehicles of antiquarian knowledge': The Visual Arts and Romantic Antiquarianism |
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23 | (17) |
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2 The Gothic Aesthetic: Word and Image |
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40 | (18) |
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3 Aesthetic Landscapes: Travel and Tourism |
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58 | (19) |
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4 Visualising the Indigenous Pacific |
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77 | (18) |
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5 Elite and Popular Orientalisms |
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95 | (18) |
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Part II Exhibition, Commerce and Culture |
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6 Collecting and the Country House, 1750-1840 |
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113 | (17) |
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7 Public Improvement as `National Ornament': Commerce, Culture and Patriotism in London and Edinburgh |
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130 | (16) |
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8 Commemoration, Domestic Display and the Decorative Arts: Romantic Nelsonia |
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146 | (19) |
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9 Building(s) for Art: The Evolution of Public Art Galleries in England, 1780-1840 |
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165 | (19) |
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10 Exhibitions Culture, Consumerism and the Romantic Artist |
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184 | (17) |
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11 Portraiture: Commerce and Celebrity |
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201 | (19) |
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12 Convergence and Dissonance: Romantic Theatre and the Visual Arts |
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220 | (17) |
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13 Sound and Vision in Blake's London |
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237 | (18) |
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14 Taken By Storm: Multisensory Learning in the Lecture Room |
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255 | (17) |
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15 Romanticism, `Real' Illusions and the Transformation of Experience in Modernity |
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272 | (23) |
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Part III Circulations: Print Culture and the Arts |
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16 Romantic Art and the Novel |
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295 | (18) |
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17 Mired in Print: Romantic Writers and Caricature |
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313 | (22) |
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18 `A Point to Aim at in a Morning's Walk': Encounters at the Print Shop |
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335 | (21) |
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19 Illustrated Poetry in the Romantic Period |
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356 | (18) |
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20 Fashioning the Female Artist: Allegory and Celebrity in Lady Diana Beauclerk's Watercolours of The Faerie Queene |
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374 | (17) |
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21 Angelica Kauffman and the Sister Arts |
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391 | (17) |
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22 Illustrated Magazines and Periodicals: Visual Genres and Gendered Aspirations |
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408 | (21) |
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Part IV Romanticism Reimagined, the 1830s and Beyond |
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23 Album Culture: Begging for Scraps |
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429 | (21) |
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24 Nineteenth-Century Illustrated Poetry: Mise-en-Page and the Visual Rhythms of Seriality |
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450 | (21) |
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25 Romantic Caricature and Comics |
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471 | (15) |
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26 Cultural Manifestations of Romanticism on the Contemporary Screen |
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486 | (16) |
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27 Looking Back Through Fashion: Regency Romances and a `Jumble of Styles' |
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502 | (21) |
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| Notes on Contributors |
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523 | (6) |
| Index |
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529 | |
Maureen McCue is former Senior Lecturer in nineteenth-century British Literature at Bangor University (UK). She is the author of British Romanticism and the Reception of Italian Old Master Art, 17931840 (Ashgate, 2014), which was short-listed for the British Association of Romantic Studies First Book Prize (2015). She has published essays on Romantic periodicals, the development of the National Gallery in London, Anglo-Italian relations and illustrations. Her current project, funded in part by the British Academy/Leverhulme Small Research Grant, examines how the rich ecology of womens visual lives determined the periods wider print culture. Sophie Thomas is Professor of English at Toronto Metropolitan University. She is the author of Romanticism and Visuality: Fragments, History, Spectacle (Routledge, 2008), and of numerous articles and chapters that address the crosscurrents between literature, material culture and visual culture in the Romantic period. She is currently completing a book on objects, collections, and museums at the turn of the nineteenth centuryThe Romantic Museum, 1770 1830: Matter, Memory, and the Poetics of Thingsand beginning a new, funded program of research on Romanticism, museums and the poetics of sculpture.