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Texte remanié de: Thesis Ph. D. / Bibliogr. p. 187-196. Index.

This MA thesis is concerned with the analysis of three poems by Dante Gabriel Rossetti. The theoretical basis of this work is the theory of "ut pictura poesis" which examines the relationship between poetry and fine arts. In the case of Rossetti, this theory can be easily applied since Rossetti was not only a poet but mainly a painter. "The Blessed Damozel" which is the first poem to be analyzed, exists as a painting as well as a musical composition by Claude Debussy. The second poem in this thesis is "The Card Dealer" which was inspired by an actual painting by Theodor Van Holst, a copy of which Rossetti himself owned, though the original visual image is considerably modified in the poem. The last poem is "My Sister's Sleep" whose dramatic elements of individual scenes are quite outstanding. Just like the two preceding poems, "My Sister's Sleep" uses "painterly techniques" as well (the spatial composition of figures on the scene, emphasis on details, "painting" the scene and atmosphere, characterization, gestures, colours, materials, slowed-down tempo, general stasis of depiction, elongation of the tense moment to which the entire poem aspires, symbolism, mysticism, etc), which in effect create an easily imaginable mental picture that can be compared to actual Pre-Raphaelite paintings. These (and...

Inaug.-Diss.--Tübingen. / Lebenslauf. "Bibliographie": p. 47-49.

What can the study of Victorian literature gain from approaching primary texts explicitly as processing, storing, and transmitting data? I suggest that, by applying tools and methodologies from German media history that are usually reserved for technical and digital media, we can illuminate how individual texts operate and better understand Victorian texts as media, which remains an underdeveloped aspect of materialist literary study. In analysing how Victorian texts depict encounters with traditional plastic art-objects, I develop new applications of Friedrich Kittler’s ideas of recursion and transposition, Hans Ulrich Gumbrecht’s method of reading for Stimmung, and the theory of cultural techniques (Kulturtechniken). I also propose new concepts to further our understanding of how encounters with art-objects function, such as the observer effect: the simultaneous perception of past and future meanings of an art-object. Close readings of Michael Field’s Sight and Song and Dante Gabriel Rossetti’s Ballads and Sonnets suggest that both volumes acknowledge encounter as a cultural technique, rather than a spontaneous, independent action by the subject. Yet they propose different roles for themselves within that technique. Michael Field’s poems purport to halt the process of recursion, but Rossetti’s demand that readers experience their own observer effects. Meanwhile, Vernon Lee’s Hauntings: Fantastic Stories and Oscar Wilde’s The Picture of Dorian Gray demonstrate the agency of art-objects vis-à-vis the cultural technique of encounter. Lee’s stories reveal the threat to an individual subject’s production of future meanings that art-objects pose, in particular through their effects of presence. In Dorian Gray, the art-object’s own data processing circumscribes the subject’s observer effect. Each text thus evidences its operations as a medium and its complicated relationships with other media in the form of art-objects. Each processes data; recurs to art-objects, tropes, or themes and transmits future meanings thereof; and participates in the cultural technique of encounter. In so doing, these texts resisted the threats of marginalisation that faced ‘old media’ from the rise of photography and the incipient development of film at the fin de siècle.

Christina Rossetti and Dante Gabriel Rossetti both suffered from ambivalent feelings concerning the role female sexuality plays in the salvation of the soul. These ambivalent feelings ranged from seeing female sexuality as leading men to salvation, to seeing it as a trap for the destruction of women's souls as well as men's. The contradictory feelings of the Rossettis' typifies the Victorian people's experience and was caused by the nature of the times. Using the analysis of the period by Walter E. Houghton in The Victorian Frame of Mind: 1830-1870, this paper describes the affect the Victorians' religious zeal, their "moral earnestness," and their "woman-worship" had on the two Rossetti poets.

Uppsatsens ämne berör användningen av intermedialitet för att förmedla ett narrativ i Dante Gabriel Rossettis verk Lady Lilith och Sibylla Palmifera. I uppsatsen undersöks hur Rossetti problematiserar den samtida kvinnosynen. Med intermedialitet menas användningen av två medier i samma verk, i detta fall sonett och måleri. Syftet är att undersöka hur Dante Gabriel Rossetti problematiserade den rådande tudelade synen på kvinnan som antingen ond eller god. Den intermediala teorin som används bygger på W.T.J. Mitchells teori om relationen mellan bild och text, vad dessa medier tillför varandra samt skillnaden mellan dem. Genom analyser av både text och måleri undersöks de bägge verkens ikonologi. Dispositionen består av tre avsnitt. Det första avsnittet fungerar som en bakgrund till de övriga två avsnitten. Avsnitt två och tre består av enskilda analyser av de bägge verken med tillhörande texter.  Resultatet visar att Dante Gabriel Rossetti med dessa verk problematiserar dualiteten i den samtida kvinnosynen. Genom att använda mytologiska kvinnogestalter skapar Rossetti en mer nyanserad bild av synen på kvinnan under den viktorianska epoken. Användningen av sonett och måleri tillsammans fungerar väl i Lady Lilith då verket får en fördjupad inre mening. I dubbelverket Sibylla Palmifera relaterar dock sonett och målning inte lika bra med varandra.

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During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

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