{"title":"Live Byron","authors":"Clare Pettitt","doi":"10.1093/oso/9780198830429.003.0004","DOIUrl":null,"url":null,"abstract":"‘Live Byron’ discusses the ‘live’ and singular performances of shipwrecks by Byron and the painter Géricault in 1819. Reactions to Byron’s treatment of a fatal shipwreck in the first instalment of his serial poem Don Juan are assessed alongside reactions to Géricault’s oil painting The Raft of the Medusa, which was simultaneously on show at the Egyptian Hall in London. The chapter analyses the strong sentiments of disgust elicited by both works, concluding that it is both their reference to a ‘real’ news item and their creation of virtual bodies to represent catastrophic death that triggered such strong critical reactions. Through the experiences of their viewers, panoramas and shows in this early period are reconceptualized as ‘live’ performances which demanded an interactive and participative engagement and which contributed to the formation of a popular consciousness of existing in a simultaneous historic present.","PeriodicalId":269870,"journal":{"name":"Serial Forms","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Serial Forms","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780198830429.003.0004","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
‘Live Byron’ discusses the ‘live’ and singular performances of shipwrecks by Byron and the painter Géricault in 1819. Reactions to Byron’s treatment of a fatal shipwreck in the first instalment of his serial poem Don Juan are assessed alongside reactions to Géricault’s oil painting The Raft of the Medusa, which was simultaneously on show at the Egyptian Hall in London. The chapter analyses the strong sentiments of disgust elicited by both works, concluding that it is both their reference to a ‘real’ news item and their creation of virtual bodies to represent catastrophic death that triggered such strong critical reactions. Through the experiences of their viewers, panoramas and shows in this early period are reconceptualized as ‘live’ performances which demanded an interactive and participative engagement and which contributed to the formation of a popular consciousness of existing in a simultaneous historic present.
“现场拜伦”讨论了1819年拜伦和画家格萨里科对沉船的“现场”和独特表演。人们对拜伦连载诗《唐璜》第一部中对一场致命海难的描写的反应,与对格萨里科油画《美杜莎之筏》(the Raft of the Medusa)的反应一起进行了评估,这幅油画同时在伦敦的埃及大厅展出。本章分析了两部作品引发的强烈的厌恶情绪,得出的结论是,它们都参考了“真实”的新闻项目,并创造了虚拟的身体来代表灾难性的死亡,这引发了如此强烈的批评反应。通过他们的观众的经验,这个早期的全景和展示被重新定义为“现场”表演,需要互动和参与性的参与,并有助于形成一种同时存在于历史当下的流行意识。