The longest account of the transformation of space comes early in the plans, before even a play has been selected. Thus for poets and novelists glass took on material and ontological, political, and aesthetic meanings. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period. These are ideologically fraught heterotopias. Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. Even in a dark room such orientation occurs. Glass culture constituted Victorian modernity.
Are terms like literature, art, criticism, values, redundant in this utilitarian, reductionist period? Thus, despite his emphasis on corporeality, human consciousness is a rather thin, etiolated entity. Glass culture constituted Victorian modernity. Holway New York: Barnes and Noble, 2005 , p. We quickly enter a vision of Victorian England that is dazzlingly new - a glass democracy of crystal boulevards and aerial spaces. Foucault reads heterotopia as the space deemed as other that creates one as other to it. Factory archives, trade union records, and periodicals document the individual manufacturers and artisans who founded glass culture, the industrial tourists who described it, and the systematic politics of window-breaking.
Hopkins, Wyndham Lewis, George Meredith, Alice Meynell, Harriet Beecher Stowe, Shakespeare, and W. He makes four propositions that restate his fundamental premise, that space is the condition of perception and not the other way round. This challenging book is worth the effort for the new window it opens on the crucially important Victorian period. Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. But they were nevertheless governed by two inescapable conditions. It intervened between seer and seen, incorporating a modern philosophical problem into bodily experience. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known.
Part I: Democratic Imaginaries 1: Genealogies 2: Illegitimacy: Genealogy Out of Place 3: 'The Republic of my Imagination': Democratic Imaginations and Dialogic Print Culture Part 2: Poetics for a Democratic Imagination 4: Four Principles of Democratic Reading 5: Reading for Democratic Imaginations: Inquiry, Form, and Illegitimate Mothers 6: Reading for Democratic Imaginations: Inquiry, Form, and Illegitimate Children 7: 'Absolutely destitute' 8: The Aesthetic: Representation 9: The Aesthetic and Bodies: Singing, Acting, Voicing Freedoms Ballads Conclusion: Parting Questions Isobel Armstrong, Emeritus Professor, Birkbeck, University of London Isobel Armstrong's career has been characterised by changes of location and the pleasure of different intellectual contexts. They manifest themselves in the technologies of the factory furnace, in the myths of Cinderella and her glass slipper circulated in print media, in the ideologies of the conservatory as building type, in the fantasia of the shopfront, in the production ofchandeliers, in the Crystal Palace, and the lens-made images of the magic lantern and microscope. Yet, remembering that they are to house three orphans who have been deprived of home, they are surely offered to us as oneiric space, space with the potential for dreams and images, space that could generate a protective interiority. In the second part of this article I discuss the suggestiveness and limitations of a number of theories of space: Bachelard, Lefebvre, Foucault, and Deleuze. A book of great originality and even greater ambition.
Although it was never realized, this visionary scheme shows the potential for individual and social transformation ushered in by mass-produced glass. During retirement she has taught at the universities of Harvard and Johns Hopkins and spoken at international conferences. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period. They can be imprisoning as well as connecting. It intervened between seer and seen, incorporating a modern philosophical problem into bodily experience. Armstrong's assertion that technological changes were responsible, at least in part, for profound alterations in widely different areas of human experience is part of a trend in contemporary cultural history. Its interior space guarantees the space of interiority itself.
Her latest book, 2008 won the Modern Language Association's James Russell Lowell Prize in 2009. Reflections, Translucency, Aura, Trace ; 6. For the first time, familiar middle-class male poets, such as Tennyson, Swinburne, Hopkins and Browning, are related to female and working-class poets. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period. A book of great originality and even greater ambition. The paradoxical shared isolation or solipsism, rather than a shared understanding of space, as the underlying social bond is an awkward proposition to hold.
But this emphasis on the discontinuous serves to remind us that fictional space is not homogeneous. Glassing London: Building Glass Culture, Real and Imagined ; 7. Without human consciousness space and the things in it would be meaningless. Here is the spatial choreography: When Mr Thornton rose up to go away, after shaking hands with Mr and Mrs Hale, he made an advance to Margaret to wish her goodbye in a similar manner. The perspectives of the room have been altered. He provides us with a fuller sense of the self than Kant, and an account of space that is not a representation but a material reality that is multi-perspectival.
Armstrong is a Fellow of the British Academy and elected to the American Academy. First, to look through glass was to look through the residues of the breath of an unknown artisan, because glass was mass produced by incorporating glassblowing into the division of labour. Robert Lucas Chance, Modern Glass Manufacturer: fractures in the glass factory ; 3. The mass production of glass in the nineteenth century transformed an ancient material into a modern one, at the same time transforming the environment and the nineteenth-century imagination. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known. Anthony Trollope, The Prime Minister, ed.
Also, we can read him against himself: this deep need can lead to ideological misprision. The book charts this phase in three parts. The Lens, Light, and the Virtual World ; 11. Re-reading Victorian poetry from the midst of contemporary literary criticism, this volume constitutes a landmark in the appreciation and understanding of Victorian literature by Isobel Armstrong Book 22 editions published between 1996 and 1998 in English and Undetermined and held by 978 WorldCat member libraries worldwide The chronological span of the anthology provides a unique perspective on women's poetry from the late-Romantic period to the Victorian fin-de-siecle. Chance's new processes nonetheless increased efficiency, facilitating the mass production of sheet glass and the manufacture of individual panes up to three metres square. This interdisciplinary study offers nuanced, close readings in order to rebut assertions of delayed artistic responses to the decreasing influence of traditional perspective. There is news on every page, and lovingly evoked detail in profusion, but there is also deeply reflective thought and theory.