Artistic Liberties: American Literary Realism and Graphic Illustration 1880-1905 (Hardback)

Adam Sonstegard

Edité par The University of Alabama Press, 2014
ISBN 10: 0817318054 / ISBN 13: 9780817318055
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Language: English . Brand New Book. Artistic Liberties is a landmark study of the illustrations that originally accompanied now-classic works of American literary realism and the ways editors, authors, and illustrators vied for authority over the publications. Though today, we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion--for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works. Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created. Sonstegard examines the key role that the appointed artists played in visually shaping narratives--among them Mark Twain s Pudd nhead Wilson, Stephen Crane s The Monster, and Edith Wharton s The House of Mirth--as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature. N° de réf. du libraire

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Synopsis : Artistic Liberties is a landmark study of the illustrations that originally accompanied now-classic works of American literary realism and the ways editors, authors, and illustrators vied for authority over the publications.

Though today, we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials’ first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom’s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion—for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works.

Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors’ intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux
they created.

Sonstegard examines the key role that the appointed artists played in visually shaping narratives—among them Mark Twain’s Pudd’nhead Wilson, Stephen Crane’s The Monster, and Edith Wharton’s The House of Mirth—as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature.

About the Author: Adam Sonstegard is an associate professor of English at Cleveland State University in Ohio.

Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.

Détails bibliographiques

Titre : Artistic Liberties: American Literary ...
Éditeur : The University of Alabama Press
Date d'édition : 2014
Reliure : Hardback
Etat du livre : New

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Description du livre The University of Alabama Press, United States, 2014. Hardback. État : New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. Artistic Liberties is a landmark study of the illustrations that originally accompanied now-classic works of American literary realism and the ways editors, authors, and illustrators vied for authority over the publications. Though today, we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion--for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works.Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created. Sonstegard examines the key role that the appointed artists played in visually shaping narratives--among them Mark Twain s Pudd nhead Wilson, Stephen Crane s The Monster, and Edith Wharton s The House of Mirth--as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature. N° de réf. du libraire BTE9780817318055

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Description du livre The University of Alabama Press. Hardback. État : new. BRAND NEW, Artistic Liberties: American Literary Realism and Graphic Illustration 1880-1905, Adam Sonstegard, Artistic Liberties is a landmark study of the illustrations that originally accompanied now-classic works of American literary realism and the ways editors, authors, and illustrators vied for authority over the publications. Though today, we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials' first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom's Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion--for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works. Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors' intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created. Sonstegard examines the key role that the appointed artists played in visually shaping narratives--among them Mark Twain's Pudd'nhead Wilson, Stephen Crane's The Monster, and Edith Wharton's The House of Mirth--as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature. N° de réf. du libraire B9780817318055

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Description du livre The University of Alabama Press, United States, 2014. Hardback. État : New. Language: English . Brand New Book. Artistic Liberties is a landmark study of the illustrations that originally accompanied now-classic works of American literary realism and the ways editors, authors, and illustrators vied for authority over the publications. Though today, we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion--for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works. Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created. Sonstegard examines the key role that the appointed artists played in visually shaping narratives--among them Mark Twain s Pudd nhead Wilson, Stephen Crane s The Monster, and Edith Wharton s The House of Mirth--as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature. N° de réf. du libraire AAN9780817318055

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