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Articles 1 - 5 of 5
Full-Text Articles in Art and Design
Multisensory Tristram Shandy, Cynthia N. Malone
Multisensory Tristram Shandy, Cynthia N. Malone
English Faculty Publications
An absorbed reader typically pays little conscious attention to the visual, tactile, and sometimes aural sensory experiences of reading. Unexpected formal and visual features of Laurence Sterne’s nine-volume fictional narrative, The Life and Opinions of Tristram Shandy, Gentleman, startle readers out of absorption and call attention to familiar operations like decoding black figures on white paper and turning pages. My edition of Volume I is designed to engage the senses through its visual structure, textures, and unexpected materials (buttons, marbled paper strips, and ribbons) and through formal surprises (interpolated documents, accordion-fold inserts, and paper lace). In its structure …
Mary Hallock Foote: Reconfiguring The Scarlet Letter, Redrawing Hester Prynne, Adam Sonstegard
Mary Hallock Foote: Reconfiguring The Scarlet Letter, Redrawing Hester Prynne, Adam Sonstegard
English Faculty Publications
It took 28 years after Nathaniel Hawthorne published The Scarlet Letter in 1850 for Mary Hallock Foote to render drawings for one of the novel’s first illustrated editions, which was probably the first ever to be illustrated by a woman.(1) It took 130 years after the publication of Foote’s illustrated edition in 1878 for Project Gutenberg to digitize and disseminate Hawthorne’s novel with Foote’s illustrations.(2) It has taken seven years for Hawthorne scholarship to commence addressing and examining Foote’s edition, and theorize what her drawings suggest about the act of seeing, for the heroine’s audiences in the book, and for …
Artistic Liberty And Slave Imagery: "Mark Twain's Illustrator," E. W. Kemble, Turns To Harriet Beecher Stowe, Adam Sonstegard
Artistic Liberty And Slave Imagery: "Mark Twain's Illustrator," E. W. Kemble, Turns To Harriet Beecher Stowe, Adam Sonstegard
English Faculty Publications
No abstract provided.
Discreetly Depicting "An Outrage": Graphic Illustration And "Daisy Miller"'S Reputation, Adam Sonstegard
Discreetly Depicting "An Outrage": Graphic Illustration And "Daisy Miller"'S Reputation, Adam Sonstegard
English Faculty Publications
Rendering the first illustrated edition of "Daisy Miller" in 1892, Harry Whitney McVickar had to reconcile the novella's scandalous reputation with the polite medium of graphic illustration. McVickar highlights insignificant scenery, shows solitary figures instead of social interaction or playful flirtation, and nearly omits the heroine. His depictions and omissions contain the characters' indiscretions, and ensure that aspiring flirts and would-be Winterbournes who view his images do not "get the wrong idea." Cinematic adaptations amplify Daisy's public displays and encourage Winterbourne's voyeurism, but "Daisy Miller"'s first graphic illustrations strove instead to redeem the reputation of James's "outrage on American girlhood."
Performing (In) The Grave, Heath Diehl
Performing (In) The Grave, Heath Diehl
English Faculty Publications
No abstract provided.