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The uncanny forms of novelistic characterization

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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Peripheral horizons – Russian Orientalism in a global context
Mary Roberts

: The Near East in French Painting, 1800 – 1880 (Rochester: University of Rochester, Memorial Art Gallery, 1982). 4 Mary Roberts, “Gérôme in Istanbul,” in Reconsidering Gérôme , ed. Scott Allan and Mary Morton (Los Angeles: Getty Publications, 2010), 119–34. Mary Roberts, “Gérôme in Istanbul,” in Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture (Berkeley: University of California Press, 2015) , 75–110. On more recent collecting practices see: Roger

in Russian Orientalism in a global context
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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)
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

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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
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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
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