Textual Vision: Augustan Design and the Invention of Eighteenth-Century British Culture (Transits: Literature, Thought & Culture, 1650–1850)
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A stylish critique of literary attitudes towards painting, Textual Vision explores the simultaneous rhetorical formation and empirical fragmentation of visual reading in enlightenment Britain.
Beginning with an engaging treatment of Pope's Rape of the Lock, Timothy Erwin takes the reader on a guided tour of the pointed allusion, apt illustration, or the subtle appeal to the mind's eye within a wide array of genres and texts, before bringing his linked case studies to a surprising close with the fiction of Jane Austen.
At once carefully researched, theoretically informed and highly imaginative, Textual Vision situates textual vision at the cultural crossroads of ancient pictura-poesis doctrine and modernist aesthetics. It provides reliable interpretive poles for reading enlightenment imagery, offers vivid new readings of familiar works, and promises to invigorate the study of Restoration and eighteenth-century visual culture.
———. Le Journal de Gibbon à Lausanne, 17 Aout 1763–19 Avril 1764. Edited by Georges Alfred Bonnard. Lausanne: Librairie de l’Université Lausanne, 1945. ———. The Letters of Edward Gibbon. Edited by Jane E. Norton. 3 vols. London: Cassell and Company, 1956. ———. Memoirs of My Life. Edited by Georges Alfred Bonnard. London: Thomas Nelson, 1966. Giffard, Henry. Pamela: A Comedy. London: J. Robinson, 1742. Gilpin, William. Essay on Prints. London: R. Blamire, 1792. ———. Observations on the River
also images? Not in the metaphorical sense, because they represent a color field without figuring that field as something else. Nor do they comprise an ekphrasis or word painting, a term reserved for the verbal representation of visual representation.11 We meet such an ekphrasis a few sentences further when Fyodor spies a movie poster mounted above a cinema. The poster depicts a man with “turned-out feet, the blotch of a mustache on his white face beneath a bowler hat, and a bent cane in his
answered. The reply is that “those who are most able to teach others the way to happiness, should with most certainty follow it themselves” (YE, 22:851). From the perspective of religious belief the answer to this second question is self-evident. The failures of the great in life to serve as examples will indeed be measured against their talent or privilege, since the Gospels teach that all will one day be punished or rewarded according to what they have done with what they were given. If
classicizing disegno. The term signifies manual draughtsmanship, of course, but also addresses the intellectual and moral control of the line. The Carracci and their followers were thought to be the models most worthy of imitation, as we have seen, and C. A. Du Fresnoy credits Annibale Carracci with having restored painting to the standards of the high Renaissance through his mastery of design. In these verses from the 1783 English translation of William Mason annotated by Reynolds, Du Fresnoy
not a Man in this Case, actually bear what he believes to be unbearable, and does the basest Act in the World to avoid bearing?”91 The inconsistency rests in thinking that “one Folly or Crime may excuse another, because that other is the necessary and unavoidable Consequence of the first.”92 Instead of despairing we should trust that our reason will enable us to overcome whatever our fancy persuades us is unbearable. “The grand remedy of all,” the editor says is to trust confidently in God. . .