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By Luisa Calè, Patrizia di Bello

This publication explores the stumble upon among verbal and visible kinds via a fabric aesthetic during which conception is formed through the tangible traits of the media. The individuals map a brand new severe technique within which typography and layout play a big position in addition to the pictures represented or evoked within the textual content.

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Read or Download Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Cultures (Palgrave Studies in Nineteenth-Century Writing and Culture) PDF

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Additional resources for Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Cultures (Palgrave Studies in Nineteenth-Century Writing and Culture)

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47. Miller, p. 30. 48. Karl Marx, Capital Volume I, trans. Ben Fowkes (London: Penguin, 1976), pp. 167, 165. 49. Karl Marx and Frederick Engels, The German Ideology, trans. J. Arthur (London: Lawrence, 1974), p. 42. 50. Karl Marx, Economic and Philosophical Manuscripts of 1844, trans. Martin Milligan (Amherst, NY: Prometheus Books, 1988), p. 71. 51. Marx, Capital, p. 166. 52. ‘Editorial’, Journal of Material Culture, 1 (1996), 5–14: 7. 53. Marx, Capital, pp. 167–8. 54. , The Social Life of Things: Commodities in Cultural Perspective (Cambridge: Cambridge University Press, 1986), p.

1–24; Howes, ‘Charting the Sensorial Revolution’, Senses and Society, 1 (2006), 113–28. 38. Elizabeth Edwards and Janice Hart, ‘Photographs as Objects’, in Edwards and Hart, eds, Photographs, Objects, Histories (London and New York: Routledge, 2004), pp. 1–15: 1–2; see also Geoffrey Batchen, Forget Me Not: Photography and Remembrance (New York: Princeton Architectural Press, 2004). 39. Henry James, ‘Preface’, The Golden Bowl, ed. by Virginia Llewellyn Smith (Oxford: Oxford University Press, 1999), p.

Xlv), the rejection of commercial types of illustration did not entail a separation of literary from visual pleasures. To the contrary, following Aristotle, James argued that ‘the essence of any representational work is of course to bristle with immediate images’ (p. xlv). For all its literary power, James’s ‘vividness’ is nonetheless fed by the kinds of visual material that he avoided as ornaments of his work. Graham Smith has worked on the photographic repertoire of nineteenth-century tourism, showing how photography took over the tradition of the picturesque.

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