Romanticism and Illustration
- Submitting institution
-
Roehampton University
- Unit of assessment
- 27 - English Language and Literature
- Output identifier
- 926625
- Type
- B - Edited book
- DOI
-
-
- Publisher
- Cambridge University Press
- ISBN
- 9781108425711
- Open access status
- -
- Month of publication
- May
- Year of publication
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
2
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This submission comprises two pieces from my co-edited book Romanticism and Illustration: the co-written ‘Editors’ Introduction’ (pp.1-21), and my sole-authored chapter ‘Illustration, Terror, and Female Agency: Thomas Macklin’s Poets Gallery in Revolutionary Decade’ (pp.199-220). Taken together, these two items explain and exemplify the innovative, ground-breaking nature of this new research into Romantic-era illustration, as well as demonstrating my pivotal role in shaping this exciting new area of study. The ‘Editors’ Introduction’ has three main components. First, it sets out the aims of the volume by reassessing and re-evaluating the meaning of the concept of illustration at this time. It examines a wide range of primary sources in order to argue that illustration had not yet acquired its modern meaning: an image in a book was actually a dynamic element in a much wider communication circuit of display, reproduction, and publication that covered a spectrum of media including paintings, engravings, prints, designs and books. Second, the Introduction shows that the boom in illustration was part of major cultural initiative to establish a national school of art based on the visualization of the literary canon. Third, the Introduction explains how each chapter fits within this framework and opens up new areas of knowledge, including my own chapter on Thomas Macklin’s Poets Gallery. The chapter itself has three aims: first, to bring to life the unique cultural work of the literary gallery, a space in which literature was seen and visual images were read; second, to bring the Poets Gallery out from under the shadow of the better-known Shakespeare Gallery; third, to provide a case study of the subversive ways in which the Poets Gallery’s prints can be interpreted in the context of the revolution debate of the 1790s, including a radical role for women and female agency.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
