000			02089nam a2200217 a 4500
001			ASIN1421407175
003			OSt
005			20190522133322.0
008			150522s2012 xxu eng d
020			_a1421407175 (hardcover) _c$60.00
020			_a9781421407173 (hardcover)
037			_c5775.00 PKR
040			_cAUI
100	1		_aElliott, Kamilla. _913170
245	1	0	_aPortraiture and British Gothic fiction : the rise of picture identification, 1764-1835 _cKamilla Elliott.
260			_aBaltimore _bJohns Hopkins University Press, _c2012.
300			_axiii; 336 p.
520			_aTraditionally, kings and rulers were featured on stamps and money, the titled and affluent commissioned busts and portraits, and criminals and missing persons appeared on wanted posters. British writers of the eighteenth and nineteenth centuries, however, reworked ideas about portraiture to promote the value and agendas of the ordinary middle classes. According to Kamilla Elliott, our current practices of "picture identification" (driver���s licenses, passports, and so on) are rooted in these late eighteenth- and early nineteenth-century debates. Portraiture and British Gothic Fiction examines ways writers such as Horace Walpole, Ann Radcliffe, Mary Shelley, and C. R. Maturin as well as artists, historians, politicians, and periodical authors dealt with changes in how social identities were understood and valued in British culture���specifically, who was represented by portraits and how they were represented as they vied for social power. Elliott investigates multiple aspects of picture identification: its politics, epistemologies, semiotics, and aesthetics, and the desires and phobias that it produces. Her extensive research not only covers Gothic literature���s best-known and most studied texts but also engages with more than 100 Gothic works in total, expanding knowledge of first-wave Gothic fiction as well as opening new windows into familiar
856			_3Amazon.com _uhttp://www.amazon.com/exec/obidos/ASIN/1421407175/chopaconli
942			_2ddc _cBK
999			_c8660 _d8660