Pub Date : 2020-06-04DOI: 10.1093/oso/9780198830429.003.0007
C. Pettitt
Chapter 6, ‘History in Miniature’, focuses on the weekly illustrated miscellanies of the 1820s and 1830s to see how they presented the past and created a sense of virtual historicity for a new readership. Images of the geographically and historically remote were presented as novelties and ‘news’ and the chapter looks at toys and other miniature representations of historical events too. Did people understand history as a series of singular and spectacular ‘fixed’ events? Or did the gradually embedding seriality of their daily practices create instead a more pliant, plastic, and permeable idea of history as a forming and formative process in which they could participate? This chapter considers the scalar strategies by which popular print and material culture put the past ‘within reach’ and suggests how different forms of miniaturization helped people to negotiate the dizzying possibilities of a global scale.
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Pub Date : 2020-06-04DOI: 10.1093/oso/9780198830429.003.0004
Clare Pettitt
‘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。
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Pub Date : 2020-06-04DOI: 10.1093/oso/9780198830429.003.0003
C. Pettitt
‘Scott Unbound’ shows how thinking about print in the 1820s and 1830s in a disaggregated, messy and material way, and seeing it as part of a new media world of performance, text, and image, can help us to think differently about the immense cross-class popularity of Walter Scott’s work. Right from the start, Scott’s powerful Romantic presence as the literary author of books rested on ‘Scott’ as a multimedia phenomenon. Taking the nineteenth-century print serial seriously challenges assumptions about what a ‘book’ might be. By unbinding Scott’s work, this chapter disperses his texts and restores them to their original promiscuous sociability. The Romantic idea of the author is complicated through the remediations of the multi-genre productions of ‘The Magician of the North’ (a.k.a. Walter Scott), and the phenomenon of ‘Scott’ in the early nineteenth century is produced by the generative possibilities of the serial more than has been previously recognized.
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Pub Date : 2020-06-04DOI: 10.1093/oso/9780198830429.003.0002
C. Pettitt
‘Yesterday’s News’ investigates the overlapping of different kinds of media time in the 1820s and 1830s. It tracks the persistence into modernity of older cultures of print and reading: almanacs, ballads, broadsheets, and miscellanies were all circulating alongside the popular illustrated twopenny papers of the 1820s. Historical descriptions (of the classical past; medieval dress; customs of the Tudors, and such like) became placeholders for ‘news’ in these popular papers. Using John Clare’s The Shepherd’s Calendar (1827) as an important commentary on the intersections of print and different forms of time in the 1820s, this chapter measures the time lag of the news for most Londoners who were unable to afford expensive newspapers and instead relied on out-of-date information, or topical popular publications, and so were struggling to catch up and, in the meanwhile, were encountering history as news.
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