Fiction in the Age of Photography: The Legacy of British RealismHarvard University Press, 3 maj 2002 - 338 sidor Victorians were fascinated with how accurately photography could copy people, the places they inhabited, and the objects surrounding them. Much more important, however, is the way in which Victorian people, places, and things came to resemble photographs. In this provocative study of British realism, Nancy Armstrong explains how fiction entered into a relationship with the new popular art of photography that transformed the world into a picture. By the 1860s, to know virtually anyone or anything was to understand how to place him, her, or it in that world on the basis of characteristics that either had been or could be captured in one of several photographic genres. So willing was the readership to think of the real as photographs, that authors from Charles Dickens to the Brontës, Lewis Carroll, H. Rider Haggard, Oscar Wilde, D. H. Lawrence, E. M. Forster, and Virginia Woolf had to use the same visual conventions to represent what was real, especially when they sought to debunk those conventions. The Victorian novel's collaboration with photography was indeed so successful, Armstrong contends, that literary criticism assumes a text is gesturing toward the real whenever it invokes a photograph. |
Innehåll
What Is Real in Realism? | 1 |
1 The Prehistory of Realism | 32 |
2 The World as Image | 75 |
The Importance of Being Esther | 124 |
Heathcliffs Obsolescence | 167 |
Hungry Alice | 201 |
6 Authenticity after Photography | 244 |
Notes | 279 |
332 | |
Andra upplagor - Visa alla
Fiction in the Age of Photography: The Legacy of British Realism Nancy Armstrong Fragmentarisk förhandsgranskning - 1999 |
Vanliga ord och fraser
according ªction aesthetic Age of Photography ªgure allowed appearance argued ªrst beauty become body British called commodity consider consumer conventional copy created culture described desire developed Dickens difference distinctions effect England English European experience explains face fact female Fiction figure Gilpin House human identity illustrations imagine individual kind Lady land landscape literary lives London look material matter means nature nineteenth century Notes novel object observer offers once original Pages painting photograph picture picturesque pleasure popular portrait position practices Press produced readers realism refers relation relationship representation represented reproduced resemblance respectable seen sense sexual signs social space suggest taste theory things tion tradition transformation turn University University Press Victorian visible visual woman women writing York
Hänvisningar till den här boken
Russian Literary Culture in the Camera Age: The Word as Image Stephen Hutchings Ingen förhandsgranskning - 2004 |