Luisa Calè, Patrizia di Bello's Illustrations, Optics and Objects in Nineteenth-Century PDF
By Luisa Calè, Patrizia di Bello
This ebook explores the stumble upon among verbal and visible types via a fabric aesthetic within which belief is formed by means of the tangible characteristics of the media. The participants map a brand new severe method within which typography and layout play a big function in addition to the pictures represented or evoked within the textual content.
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Extra resources for Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Cultures (Palgrave Studies in Nineteenth-Century Writing and Culture)
65 The visual culture of precious books is richly represented in our collection, from Janzen Kooistra’s work on The Yellow Book to the terse visual page of John Gray’s Silverpoints, which Hatt contrasts to the medievalising thickets encountered in Morris’s Kelmscott edition of Chaucer. Books, illustrated magazines and photographs might be mass or machine produced; they may lack the connection to a human hand Luisa Calè and Patrizia Di Bello 17 that hand-written letters or original drawings would have, or the trace of a skilled artisan’s hand.
However, there was one place where the terrifying sight of the Medusa could be had – repeatedly – and that is at the phantasmagoria shows in Paris and London. The phantasmagoria was effectively a modification of the magic lantern shows that had been popular throughout the eighteenth century. 7 The phantasmagoria incorporated two important changes: first, the image was projected from behind a screen, rather than in front, which made the operator invisible to the audience on the other side. It thus concealed the mechanism of illusion creation from view.
29 The prostrate position of the Medusa is established and emphasised in the first line of Shelley’s opening stanza: It lieth, gazing on the midnight sky, Upon the cloudy mountain-peak supine; Below, far lands are seen tremblingly; Its horror and its beauty are divine. Upon its lips and eyelids seems to lie Loveliness like a shadow, from which shine, Fiery and lurid, struggling underneath, The agonies of anguish and of death. While ‘lieth’ has an appropriate double meaning, alluding to the potential treachery of the look, of her look, its repetition in the fifth line suggests a lighter, transitory quality – something elusive (loveliness ‘seems’ to lie and it is shadow-like).
Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Cultures (Palgrave Studies in Nineteenth-Century Writing and Culture) by Luisa Calè, Patrizia di Bello