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The return of the visible in British Romanticism

Author: William H Galperin
Publisher: Baltimore : Johns Hopkins University Press, ©1993.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
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  Read more...
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Genre/Form: Criticism, interpretation, etc
History
Additional Physical Format: Online version:
Galperin, William H.
Return of the visible in British Romanticism.
Baltimore : Johns Hopkins University Press, ©1993
(OCoLC)624401389
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: William H Galperin
ISBN: 080184505X 9780801845055
OCLC Number: 26502064
Description: xiv, 327 pages : illustrations ; 24 cm
Contents: The return of the visible --
The panorama and the diorama : aids to distraction --
Constable's deception --
The mind in the "land of technology" : resistance to spectacle in Wordsworth's Prelude --
Lamb and Hazlitt : romantic antitheatricality and the body of genius --
Coleridge's antitheatricality : the quest for community --
Wordsworth, Friedrich, and the photographic impulse --
The postmodernism of Childe Harold --
Postscript : the feminization of Don Juan.
Responsibility: William H. Galperin.
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Abstract:

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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