Working off of a theory of 'picture identification' as the middle-class appropriation of elite uses of portraiture, Elliott claims that while elites continued to rely on symbolic projections of identity, the middling classes developed a network of converging concepts toward a different sense of selfhood. Laurence Housmans illustration of Sweyn and Christian as mirror images of each other for The Were-Wolf in 1896. Elliott's recent contribution to this growing field of research provides intriguing insights while leaving larger questions of the role of the imagination to future scholars. Pointon's art historical treatment of the subject provides a framework for sorting out the recent rash of scholarship on why the eighteenth century became the 'age of portraiture', and how portraiture was aligned with investigations into subjective states, questions of identity, and changing cultural norms. One of the central images conjured up by the gothic nov. Perhaps the last type of novel in this mode was Emily Brontes. Read 3 reviews from the worlds largest community for readers. The political and ritualistic uses of portraiture continued during the Romantic period, as Marcia Pointon has comprehensively shown in Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England (New Haven: Yale University Press, 1993). The first Gothic horror novel was The Castle of Otranto by Horace Walpole, published in 1754. In the West, portraiture had long been the provenance of royalty and those elites needing symbolic representation of their political and social power. Not since the demise of the Roman Empire had portraiture been accessible to any those with the money to afford it, if only for funeral purposes. With books like Kindred and The Parable of the Sower, Octavia Butler established herself as a master of using science fiction and fantasy to probe at social issues of race, class, and family. In Portraiture and British Gothic Fiction The Rise of Picture Identification, 1764-1835 Kamilla Elliott investigates a specific space of the British Romantic cultural imaginary which we call the Gothic to focus understanding of how the rise of portraiture during this period was tied to the increasing social dominance of the middling classes. (Baltimore: The Johns Hopkins University Press, 2012. Most of the writers were Anglo-Irish.The period from 1691 to 1800 was marked by the dominance of the Protestant Ascendancy, Anglo-Irish families of the Church of Ireland who controlled most of the land. Portraiture and British Gothic Fiction The Rise of Picture Identification, 1764-1835. Irish Gothic literature developed in the eighteenth and nineteenth centuries. When Horace Walpole published his gothic story The Castle of Otranto, he launched a literary movement which has sired monsters, unleashed lightning and put damsels in distress for 250 years.
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