Published by OUP About this Item: OUP, Large 8vo. Author s Presentation copy, inscribed to title-page - To Michael with love Isobel. With inscribed card from the Author loosely inserted - Dear Michael [Bogdanov] I hope this crosses with some of your glass interests and politics - I tried to make it very beautiful too.
Victorian glassworlds: glass culture and the imagination by Armstrong, Isobel
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Published by Oxford University Press About this Item: Oxford University Press, Pages are intact and are not marred by notes or highlighting, but may contain a neat previous owner name. The spine remains undamaged. Supplemental materials are not guaranteed with any used book purchases.
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Victorian Glassworlds: Glass Culture and the Imagination 1830-1880
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Numéros en texte intégral
To approximate the Victorian glassworld, and to make legible the semantics of glass in which it was reflected, Armstrong formulates seven theses about its constituents, which make up the major threads of her book. She reads the texts as testimonies to the problematic of the modernist subject whose position and identification become modified by the intrinsic tensions and ambiguities of the glassworld.
What is particularly appealing in this section, apart from the diversity of studied materials from journalistic accounts to private diaries and trade union magazines , is that they make us, as contemporary readers, aware of our own position and point of view, which often preclude our recognition of the ambiguous status of transparency due to modern virtualization of experience.
The reflexivity of glass impels Armstrong to reflect on the questions concerning the agency of looking, the nature of the image reflected and the transformation of the body in glass. Her introduction to the poetics of windows constitutes a background for the reconsideration of the new, glassed metropolitan spaces and artefacts whose political and aesthetic significance she explores.click here
It is a multifaceted book, the complexity of which — both theoretical and rhetorical — is impressive. This density may be challenging to the reader, but is without doubt greatly inspiring. The book breathes life into the nineteenth century.
These are likewise supported by the paratextual parameters of her book. The innovative structuring of the material and rich literary and visual references turn it into a mine of information on the Victorian era and its visual culture. It is up to us, the readers, to find among its pages the most precious gem, or to pick up a piece of coal and turn it into a crystal.