Psychosocial spaces : verbal and visual readings of British culture, 1750-1820
著者
書誌事項
Psychosocial spaces : verbal and visual readings of British culture, 1750-1820
Wayne State University Press, c2000
大学図書館所蔵 全10件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
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  アメリカ
注記
Bibliography: p. 207-220
Includes index
内容説明・目次
内容説明
Citizens of late 18th- and early-19th century Great Britain lived in a time when the determination of social identity by birth was eroding due to the rise of capitalism. This volume explores how members of British society situated themselves in relation to culture and thereby defined the "self" in psychosocial space. The author studies practical modes of establ ishing subjectivity that were provided through visual arts and novels. He shows how these forms of emergent mass media created cultural spaces - social space that functioned in the present, historical space, and erotic space that focused on the future - that were used as vehicles for both cultural and individual self-representation. He analyzes Tobias Smollett's "Humphrey Clinker" and Jane Austen's "Persuasion" in conjunction with visual evidence of social settings they contain, such as the London pleasure gardens of Ranelagh and Vauxhall. Through this analysis, he describes how assertions of identity and rank were becoming more complicated as social space was shaped by the architectural articulation of space and the codification of etiquette.
He next examines Sophia Lee's novel "The Recess", along with prints and sketches of ruins, to place the monastic ruin at the focus of desire to repress discontinuity in the past, which in turn permitted individuals to conceive of constructing identity based on genealogy. Then, through a study of Henry Fielding's "Amelia", he discusses portrait miniatures and silhouettes as fetishized symbols of erotic ties, showing how images of a beloved, with their promises for the future, were used as a basis for constructing individual identity. By establishing a connection between these new means of constructing identity and the rise of visual and print media, the author intends to show how these psychosocial spaces were potentially liberating for individual subjects. He also suggests that the influence of the psychosocial on forming our impressions of the self has grown more complex with the expansion of mass communication media in our own times.
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