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Description du livre hardcover. Etat : New. 1. 1st Edition. A FINE Hardcover with a FINE dustjacket. AS NEW. All dustjackets wrapped in Archival protection, and delivery confirmation with all our orders!. N° de réf. du vendeur NF1-302
Description du livre HRD. Etat : New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. N° de réf. du vendeur L1-9780199267385
Description du livre Etat : New. PRINT ON DEMAND Book; New; Fast Shipping from the UK. No. book. N° de réf. du vendeur ria9780199267385_lsuk
Description du livre HRD. Etat : New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. N° de réf. du vendeur L1-9780199267385
Description du livre Etat : New. N° de réf. du vendeur ABLIING23Feb2215580050724
Description du livre Hardcover. Etat : new. Hardcover. Fuseli's Milton Gallery challenges the antipictorial theories and canons of Romantic period culture. Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures. Fuseli's project and other literary galleries developed within an expanding market for illustrated books and a culture of anthologization used to reading British and other 'classics' in terms of the visualization of key moments in the text.Thus transformed into repositories of virtual pictures literary texts became ideal sources of subjects for painters. Illustrating British literature was a way of inventing a national 'grand style' to fit the needs of aconsumer society. Cale calls into question the separation of reading and viewing as autonomous aesthetic practices. To 'turn readers into spectators' meant to place readers and reading within the dizzying world of associations offered by an emerging culture of exhibitions. Attending to the energized reading effects developed by Fuseli's Gallery we rediscover a new side of the Romantic imagination which is not the solitary mentalist experience preferred by Wordsworth andColeridge, nor divorced from the senses, let alone a refuge from the crowded public spaces of the Revolutionary period. Rather, Fuseli's embodied aesthetic exemplifies the associationist psychologyespoused by the radical circle convening around the publisher Joseph Johnson, including Joseph Priestley and Mary Wollstonecraft. This book analyses exhibitions as important sites of Romantic sociability and one of many interrelated mediums for the literature, debates and controversies of the Revolutionary period. Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures that were exhibited in London in 1799 and 1800. Starting from Fuseli's adaptation, Cale analyses how visual practices impact on the act of reading and calls into question the separation of reading and viewing as autonomous aesthetic practices. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. N° de réf. du vendeur 9780199267385