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Johns Hopkins University Press, Date: 2012. Hardcover. Very Good. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.Dust jacket quality is not guaranteed. 2012. Johns Hopkins University Press ISBN 1421407175 9781421407173 [US]
The Johns Hopkins University Press, Date: 2012-10-31. Hardcover. Used: Good. 2012. The Johns Hopkins University Press ISBN 1421407175 9781421407173 [US]
Johns Hopkins University Press, Date: 2012. Hardcover. New. New casewrapped hardcover. Text is clean and free of marks or underlining. Includes bibliography, index, and B&W illustrations. 336 pp. Fast shipping in a secure book box mailer with tracking. Examples from British writers of the eighteenth and nineteenth centuries show how portraits became a new mode of identity for the middle class. Traditionally, 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 ...
ISBN10: 1421407175, ISBN13: 9781421407173, [publisher: Johns Hopkins University Press] Hardcover New casewrapped hardcover. Text is clean and free of marks or underlining. Includes bibliography, index, and B&W illustrations. 336 pp. Fast shipping in a secure book box mailer with tracking. Examples from British writers of the eighteenth and nineteenth centuries show how portraits became a new mode of identity for the middle class. Traditionally, 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, ...
First printing. Hardcover volume, measuring approximately 6.5" x 9.5", is new. xii/336 pages."Traditionally, 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 work." Date: 2012. Johns Hopkins ...
ISBN10: 1421407175, ISBN13: 9781421407173, [publisher: Johns Hopkins University Press] Hardcover First Edition First printing. Hardcover volume, measuring approximately 6.5" x 9.5", is new. xii/336 pages. "Traditionally, 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 (drivers 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 literatures best-known and most studied texts but also engages with more than 100 Gothic ...
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