By Alberto Gabriele
The publication investigates the dispersed emergence of the recent visible regime linked to nineteenth-century pre-cinematic spectacles within the literary mind's eye of the former centuries. Its comparative attitude levels from the Medieval and Baroque interval to the visible and stylistic experimentations of the Romantic age, within the prose of Anne Radcliffe, the experiments of Friedrich Schlegel, and in Wordsworth’s Prelude. The publication examines the cultural lines of the transformation of notion and illustration in artwork, structure, literature, and print tradition, supplying an critical heritage to any dialogue of nineteenth-century tradition at huge and its striving for a figurative version of realism. knowing the origins of nineteenth-century mimesis via an unacknowledged family tree of visible practices is helping additionally to redefine novel thought and issues to the centrality of the recent definition of ‘historicism’ irradiating from Jena Romanticism for the structuring of recent cultural studies.
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Example text
Given the overall interest of the book in charting an alternative aesthetic, some of the references that my research highlights are not only dispersed over a long period, following the methodological model of a genealogy, but limited to insightful traces that have often been overlooked. In Chap. 1, I argued that the drive to reinstate unity by means of the nineteenth-century optical toys and later through the patenting of the specific vision of the cinematograph was part of a larger cultural formation that recast the same concerns with unity out of fragmentation when theorizing a notion of dynamic structure in the modern disciplines of philology, biology and the science of value, as discussed by Foucault in The order of Things.
Writing, in striving to achieve the organic unity of its components, could rival the workings of nature in a system of correspondences between micro and macrocosm guaranteed by the fixed logic of analogy. The world below the circle of the moon, the world of endless becoming, could show a striking resemblance with the higher spheres of immutable order if it were seen to reflect, albeit in an imperfect state, this higher principle of organization. Analogia entis, the similarity to the ultimate being of all creatures in the universe, functioned as a stabilizing intellectual operation from antiquity onward, linking the world of becoming with the supernatural essence of an immanent being.
28. For the reference to the anamorphosis, see Allen Weiss. I wish to track the actual role of its experiential functioning in the history of pre-cinematic spectacles, by retracing the different forms of positioning of the observer in relation to the spectacle of vision that I am identifying. I do so to problematize the too episodic inclusion of such a trick in the narratives by Nekes and Crary. 29. Susan McCabe in Cinematic Modernism. Modernism Poetry and Film (Cambridge and New York: Cambridge University Press, 2005) foregrounds the modernist moment in the early twentieth as a moment of rupture of the Cartesian model, whereas the dispersed history of transcendental intuitions that I retrace in several authors can offer an alternative history of embodiment through and beyond the senses.