Géricault, the panorama, and sites of reality in the early nineteenth century

Grey Room

Volumn , Issue 9, 2002, Pages 7-25

  Crary, Jonathan ^a  

^a NONE

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Indexed keywords

EID: 60949921875     PISSN: 15263819     EISSN: None     Source Type: Journal    
DOI: 10.1162/152638102320989498     Document Type: Review

References (24)

1. Jean-Louis Comolli, "Machines of the Visible," in The Cinematic Apparatus, ed. Teresa de Laueretis and Stephen Heath (London: Macmillan, 1980), 122
2. and Richard Balzer, Peepshows: A Visual History (New York: Abrams, 1998)
3. See, for example, Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky (Cambridge: MIT Press, 1968), 276-277
4. and Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis: University of Minnesota Press, 1984), 130-132
5. Tony Bennett, The Birth of the Museum: Theory, History, Politics (London: Routledge, 1995)
6. See the account of these concerns in Jeffrey Auerbach, The Great Exhibition of 1851: A Nation on Display (New Haven: Yale University Press, 1999), 136-148
7. See the extensive factual account of the Egyptian Hall in Richard D. Altick's indispensable The Shows of London (Cambridge: Harvard University Press, 1978), 235-252
8. See also Celina Fox, ed., London: World City 1800-1840 (New Haven: Yale University Press, 1992), 418-421
9. Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde," in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser (London: BFI, 1990): 56-62
10. Roland Barthes, The Rustle of Language, trans. Richard Howard (New York: Hill and Wang, 1986), 147
11. Ben Weinreb and Christopher Hibbert, eds., The London Encyclopedia (London: Macmillan, 1983), 255
12. On the exhibition of Géricault's work in England and Ireland, see Lee Johnson, "The Raft of the Medusa in Great Britain," Burlington Magazine 46 (August 1954): 249-253
13. Suzanne Lodge, "Géricault in England," Burlington Magazine 62 (December 1965): 616-627
14. Lorenz E. Eitner, Géricault: His Life and Work (Ithaca: Cornell University Press, 1983), 209-212
15. and Rupert Christiansen, The Victorian Visitors: Culture Shock in Nineteenth-Century Britain (New York: Atlantic Monthly Press, 2000), 6-41
16. Michael Fried, Courbet's Realism (Chicago: University of Chicago Press, 1990), 29-31
17. Lawrence Kramer, Music as Cultural Practice 1800-1900 (Berkeley: University of California Press, 1990), 88
18. Bernard Comment, The Painted Panorama (New York: Abrams, 1999)
19. Ralph Hyde, Panoramania (London: Barbican Art Gallery, 1988)
20. and Albrecht Koschorke, "Das Panorama: Die Anfänge des modernen Sensomotorik um 1800," in Die Mobilisierung des Sehens, ed. Harro Segeberg (Munich: Wilhelm Fink, 1996), 147-168
21. Pierre Henri de Valenciennes, Élements de perspective pratique, a l'usage des artistes ... (1800; reprint, Geneva: Minkoff, 1973), 339-343
22. Barthes, "The Reality Effect," 145
23. Gustave Flaubert, Madame Bovary, trans. Francis Steegmuller (New York: Modern Library, 1957), 299
24. See Stephan Oettermann, The Panorama: History of a Mass Medium, trans. Deborah Schneider (New York: Zone Books, 1997), 47