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This volume of
This volume is dedicated to both excavating the Romantic genealogies of visuality and charting directions for the ways in which the study of Romantic visual culture may redraw the geographic, temporal, and disciplinary bounds of Romanticism, bringing diverse, and in some instances new, objects and their ethical, political, and aesthetic stakes into view. The essays investigate three broad inquiries: 1) technologies of vision and objectivity’s slippages; 2) the indigenous or transplanted fruits of visuality’s New World Genealogies and 3) the role of proto-photography, panopticism, and slavery in the spectral formation of Romantic visuality. Emphasizing the ways we interpret visuality in romantic culture, the volume invites reconsideration of media, practices, and discourses that would seem to belong to earlier and later periods—from the artifacts and modes of viewing attached to curiosity and to technologies and ways of imaging and imagining that have become aligned with photography and the digital.
This volume was designed at the University of Maryland by David Rettenmaier, Site Manager at
The
Jill H. Casid is a historian, theorist, practicing artist, and Professor of Visual Studies at the University of Wisconsin-Madison, where she founded and served as the first director of the Center for Visual Cultures. Her contributions to the transdisciplinary field of visual studies include her monographs
Theresa M. Kelley is Marjorie and Lorin Tiefenthaler Professor of English at University of Wisconsin-Madison. Here recent book,
Sophie Thomas Sophie Thomas is Associate Professor of English at Ryerson University in
Toronto, where she teaches eighteenth and nineteenth-century literature. She
is the author of
Marcus Wood is a painter, performance artist and film maker, since 2003 he
has also been Professor of English at the University of Sussex. For the last thirty years Marcus has been making art, and writing books about
different ways in which the traumatic memory of slavery and colonization have
been encoded in art and literature. Significant books include
Matthew Francis Rarey is Visiting Assistant Professor of Art History at
the University of Wisconsin-Milwaukee. From 2013-2014, he held a Dana-Allen
Fellowship in the Institute for Research in the Humanities at the University
of Wisconsin-Madison. He is the author of “Visualism” in
Kay Dian Kriz is Professor Emerita of Art History at Brown University. She
has published books and articles on British landscape painting and the visual
culture of West Indian slavery and British colonialism. Her publications
include
Lucy Kimiko Hawkinson Traverse is a Fellow at the Institute for Research in the
Humanities and a PhD Candidate in the Department of Art History at the
University of Wisconsin-Madison. She is a broad modernist interested in the
transatlantic visual culture of the long nineteenth century, the history and
theory of photography, the gendering and imaging of psychosomatic
eccentricity, and visual experiences of the urban. Her dissertation,
“Ectoplasmic Modernities: Materialization Photography at the Turn of the
Century,” explores the transatlantic interest in psychical research at the
fin de siècle, arguing that the “ectoplasmic” forces us to rethink
modernism’s visual and conceptual relationship to the occult, and
photography’s relationship to the history of science. This project has been
supported by Chancellor’s Fellowships and a CLIR/Mellon Fellowship for
Dissertation Research in Original Sources. Work from her dissertation
research will appear in the forthcoming anthology