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Looking through words
Descriptive
TitleInfo
Title
Looking through words
SubTitle
histories of the visual image in nineteenth-century literature
Name
(type = personal)
NamePart
(type = family)
Jacob
NamePart
(type = given)
Nellickal Abraham
NamePart
(type = date)
1965-
DisplayForm
Nellickal Jacob
Role
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(authority = RULIB)
author
Name
(type = personal)
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(type = family)
Galperin
NamePart
(type = given)
William
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William Galperin
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Advisory Committee
Role
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(authority = RULIB)
chair
Name
(type = personal)
NamePart
(type = family)
Flint
NamePart
(type = given)
Kate
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Kate Flint
Affiliation
Advisory Committee
Role
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(authority = RULIB)
internal member
Name
(type = personal)
NamePart
(type = family)
Siegel
NamePart
(type = given)
Jonah
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Jonah Siegel
Affiliation
Advisory Committee
Role
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(authority = RULIB)
internal member
Name
(type = personal)
NamePart
(type = family)
Heffernan
NamePart
(type = given)
James A. W.
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James A. W. Heffernan
Affiliation
Advisory Committee
Role
RoleTerm
(authority = RULIB)
outside member
Name
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NamePart
Rutgers University
Role
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(authority = RULIB)
degree grantor
Name
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NamePart
Graduate School - New Brunswick
Role
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(authority = RULIB)
school
TypeOfResource
Text
Genre
(authority = marcgt)
theses
OriginInfo
DateCreated
(qualifier = exact)
2012
DateOther
(qualifier = exact);
(type = degree)
2012-05
CopyrightDate
(qualifier = exact)
2012
Place
PlaceTerm
(type = code)
xx
Language
LanguageTerm
(authority = ISO639-2b);
(type = code)
eng
Subject
(authority = RUETD)
Topic
Literatures in English
RelatedItem
(type = host)
TitleInfo
Title
Rutgers University Electronic Theses and Dissertations
Identifier
(type = RULIB)
ETD
Identifier
ETD_3867
PhysicalDescription
Form
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electronic resource
InternetMediaType
application/pdf
InternetMediaType
text/xml
Extent
viii, 217 p. : ill.
Note
(type = degree)
Ph.D.
Note
(type = bibliography)
Includes bibliographical references
Note
(type = vita)
Includes vita
Note
(type = statement of responsibility)
by Nellickal Abraham Jacob
Abstract
(type = abstract)
“Looking Through Words” explores the intersection of the literary and the visual in
the nineteenth century—a period distinguished by an unprecedented investment in new visual technologies that created and fed the demand for mechanically produced images in an increasingly lucrative visual culture. But alongside this exponential increase in specular technologies, which seemed to release the image from intentional control, the nineteenth century was also witness to a range of intellectual developments that relocated the idea of sight to an increasingly psychologized register of mental images. Literature in the nineteenth-century represents an important venue for the elaboration
and mediation of the high stakes involved in this partitioning of the visual image. Even while marking its distance from the exponential growth in technologies of commercial reproduction, literature finds itself frequently engaged with the idea of visual image. My dissertation is about the enduring drive within the literary to re-visit this breach in the idea of the visual. It tracks four different literary engagements with the modalities of this internal division over the course of the nineteenth century. While the first chapter examines the unique word-picture experiments of Blake’s illuminated poetry, the second analyzes Shelley’s ekphrastic poem “On the Medusa of Leonardo Da Vinci” and places it
against the broader canvas of Romantic ekphrastic poetry. The third chapter places Oscar Wilde’s The Picture of Dorian Gray alongside nineteenth-century photography and explores the novel’s discursive engagement with the legal debates on copyright and authorship occasioned by the advent of photography. My final chapter extends this analysis of literature and photography through an examination of the magic-picture tradition—a literary sub-genre consisting primarily of short fictional texts preoccupied with paintings or photographs that behave out of character. In all four chapters the visual is the site of a conceptual turbulence that occasions a re-negotiation of the modalities through which real and imagined images inhabit literary forms.
the nineteenth century—a period distinguished by an unprecedented investment in new visual technologies that created and fed the demand for mechanically produced images in an increasingly lucrative visual culture. But alongside this exponential increase in specular technologies, which seemed to release the image from intentional control, the nineteenth century was also witness to a range of intellectual developments that relocated the idea of sight to an increasingly psychologized register of mental images. Literature in the nineteenth-century represents an important venue for the elaboration
and mediation of the high stakes involved in this partitioning of the visual image. Even while marking its distance from the exponential growth in technologies of commercial reproduction, literature finds itself frequently engaged with the idea of visual image. My dissertation is about the enduring drive within the literary to re-visit this breach in the idea of the visual. It tracks four different literary engagements with the modalities of this internal division over the course of the nineteenth century. While the first chapter examines the unique word-picture experiments of Blake’s illuminated poetry, the second analyzes Shelley’s ekphrastic poem “On the Medusa of Leonardo Da Vinci” and places it
against the broader canvas of Romantic ekphrastic poetry. The third chapter places Oscar Wilde’s The Picture of Dorian Gray alongside nineteenth-century photography and explores the novel’s discursive engagement with the legal debates on copyright and authorship occasioned by the advent of photography. My final chapter extends this analysis of literature and photography through an examination of the magic-picture tradition—a literary sub-genre consisting primarily of short fictional texts preoccupied with paintings or photographs that behave out of character. In all four chapters the visual is the site of a conceptual turbulence that occasions a re-negotiation of the modalities through which real and imagined images inhabit literary forms.
Subject
(authority = ETD-LCSH)
Topic
Ekphrasis
Subject
(authority = ETD-LCSH)
Topic
Visual perception in literature
Subject
(authority = ETD-LCSH)
Topic
English literature--19th century--History and criticism
Identifier
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http://hdl.rutgers.edu/1782.1/rucore10001600001.ETD.000065163
RelatedItem
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TitleInfo
Title
Graduate School - New Brunswick Electronic Theses and Dissertations
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rucore19991600001
Location
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NjNbRU
Identifier
(type = doi)
doi:10.7282/T3K64H1M
Genre
(authority = ExL-Esploro)
ETD doctoral
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Rights
RightsDeclaration
(ID = rulibRdec0006)
The author owns the copyright to this work.
RightsHolder
(type = personal)
Name
FamilyName
Jacob
GivenName
Nellickal
Role
Copyright Holder
RightsEvent
Type
Permission or license
DateTime
(encoding = w3cdtf);
(qualifier = exact);
(point = start)
2012-04-04 02:10:34
AssociatedEntity
Name
Nellickal Jacob
Role
Copyright holder
Affiliation
Rutgers University. Graduate School - New Brunswick
AssociatedObject
Type
License
Name
Author Agreement License
Detail
I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
Copyright
Status
Copyright protected
Availability
Status
Open
Reason
Permission or license
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Technical
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