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The uncanny forms of novelistic characterization
Author: Alexander Bove

Through an extensive study of Dickens’s “new art form,” the illustrated novel, Spectral Dickens sets out to transform certain fundamental assumptions about realism, literary forms, and imitation of personhood that have long defined the discourse of novel criticism and character studies. This book redefines and expands the critical discourse on fictional character by bringing a wider range of modern critical theory to the study of Dickens’s characterization, using in particular the three “hauntological” concepts of the Freudian uncanny, Derridean spectrality, and the Lacanian Real to give new ontological dimensions to the basic question: “What is a character?” By taking into account visual forms of representation and emphasizing the importance of form in rethinking the strict opposition between real person and fictional character, Spectral Dickens shifts the focus of character studies from long-entrenched values like “realism,” “depth,” and “lifelikeness,” to nonmimetic critical concepts like effigy, anamorphosis, visuality, and distortion. Ultimately, the “spectral” forms and concepts developed here in relation to Dickens’s unique and innovative characters—characters that have, in fact, always challenged implicit assumptions about the line between fictional character and real person—should have broader applications beyond Dickens’s novels and the Victorian era. The aim here is to provide a richer and more nuanced framework though which to understand fictional characters not as imitations of reality, but as specters of the real.

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Vanesa Rodríguez-Galindo

in the press and geared towards a growing middle-class readership, reflected reality. One of the issues with which the author attempted to grapple was the fact that once an image was divulged in another paper, and especially a foreign one, it acquired new ramifications that were impossible to control, and so the Spanish author attempted to rewrite the story behind the image. Similar to present-day media, nineteenth-century visual culture could at once represent and contest dominant culture and also engage with controversies concerning truth and artifice

in Madrid on the move
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Andrew Dix

name of American director Francis Ford Coppola’s production company and comprising a drum rotated at sufficiently high speed for the pictures painted on its interior surface to cohere in a film-like sequence. To explore nineteenth-century visual culture is thus to enter what Michael Wood calls ‘a cabinet of wonders’ ( 2012 : 16), with other fantastically named inventions such as the Photobioscope, Phasmatrope and Praxinoscope also requiring placement somewhere in film’s many-branched family tree. And so, too, do waxworks, dioramas, panoramic paintings, theatre and

in Beginning film studies (second edition)
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Dorothea Tanning’s critical writing
Catriona McAra

Linda Nochlin, ‘Why Have There Been No Great Women Artists?’ (1971), in Women, Art, and Power and Other Essays (London: Thames and Hudson, 1991), pp. 145–78. The fact that Nochlin wrote about Tanning makes such connections even more pertinent. See Linda Nochlin, ‘Introduction: The Darwin Effect’, Nineteenth-Century Art Worldwide: A Journal of Nineteenth-Century Visual Culture, 2:2 (Spring 2003). 18 Dorothea Tanning, Cover letter

in Surrealist women’s writing
From Samoa with Love? at the Museum Fünf Kontinente, Munich
Hilke Thode-Arora

show participants into victims, denying them any agency. Although most ethnic shows took place in a colonial setting of structural inequality, Indigenous agency in the sense of capacity to act and negotiate was definitely an important factor in many of them.  3 Also seen in British settler colonies, the New Zealand International Exhibition in Christchurch 1906–1907, for example.  4 See for example E. Ames, ‘From the Exotic to the Everyday: The Ethnographic Exhibition in Germany’, in V.R. Schwartz and J. Przyblyski (eds), The Nineteenth Century Visual Culture Reader

in Curatopia
New Zealand, fern albums, and nineteenth-century fern fever
Molly Duggins

level. Responding to the robust export trade of New Zealand ferns, which transformed the colony into ‘the world’s fernery’, the SPFA functioned as a combined herbarium, nursery, and virtual tour of specimens and scenic views that hinged upon sensory experience. Embracing the fluid aesthetic currency of the fern in late nineteenth-century visual culture, the SPFA

in New Zealand’s empire
Louise Tythacott

English in the UNESCO Courier, November 1985). 5 Ringmar, Liberal Barbarism , p. 37. 6 Ibid , pp. 37–42. 7 G. Thomas, ‘The Looting of Yuanming and the Translation of Chinese Art in Europe’, Nineteenth-Century Art Worldwide: A Journal of Nineteenth-century Visual Culture , 7:2 (2008), p. 13, , accessed 10 April 2013. See J. Hevia, ‘Loot’s fate: the economy of plunder and the moral life of objects from the Summer Palace of the Emperor of

in Dividing the spoils
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Caricature and anamorphosis
Alexander Bove

’audience du 14 nov.” (Jibes Made at the Hearing of 14 Nov.), sketch, 1831. At the heart of the uncanniness of caricature and its overdetermination in nineteenth-century visual culture is its pervasive doubleness. Like “Les Poires,” the caricatures that appeared in Philipon’s magazine were frequently

in Spectral Dickens
Jasmine Allen

-​Raphaelites to the modern age (London: Tate Gallery Publishing, 2016). 107 Cormack, Arts & crafts stained glass, p. 94. 108 Hamber, ‘A higher branch of the art’, p.  83. See R. Machado, ‘The Politics of Applied Color in Early Photography’, Nineteenth-​Century Art Worldwide: A Journal of Nineteenth-​Century Visual Culture 9:1 (Spring 2010), www.19thc-​artworldwide. org/​index.php/​spring10/​politics-​of-​applied-​color (accessed 30 January 2013); H. K. Henisch and B. A. Henisch, The painted photograph 1839–​1914 (University Park: Pennsylvania State University Press, 1996

in Windows for the world
Local contexts, modern customs, visual traditions
Vanesa Rodríguez-Galindo

. Though they seldom engaged directly with matters related to politics or national affairs, costumbrista types did play an important role in echoing changing sentiments towards urbanisation, fashion, migration, gender and class relations, and internationalism. Lou Charnon-Deutsch argues that the central theme of nineteenth-century visual culture in Spain was the vicissitudes of the daily life of a growing middle class. 9 While these popular representations focused primarily on contemporary concerns, they were rooted in the long-standing tradition of visual and

in Madrid on the move