Serial Forms: The Unfinished Project of Modernity, 1815-1848 by Pettitt Clare;

Author:Pettitt, Clare; [Pettitt, Clare]
Language: eng
Format: epub
ISBN: 9780198830429
Publisher: OxfordUP
Published: 2020-05-12T00:00:00+00:00

Serial Forms: The Unfinished Project of Modernity, 1815–1848. C. J. Pettitt, Oxford University Press (2020). © Clare Pettitt.

DOI: 10.1093/oso/9780198830429.001.0001

1 Ernst Bloch, Tübinger Einleitung in die Philosophie (Frankfurt am Main: Suhrkamp, 1970), S.129. Translation my own. John Cumming translates this as ‘Time is only because something happens, and where something happens, there time is’: Ernst Bloch, A Philosophy of the Future, trans. John Cumming (New York: Herder & Herder, 1970), p. 124.

2 Nicholas Daly has noticed that ‘[a]s a narrative device, theatrical special effect, and sublime fine-art spectacle, inter alia, … [the volcanic disaster narrative] crosses not just genres and modes, but media’: Nicholas Daly, ‘The Volcanic Disaster Narrative: From Pleasure Garden to Canvas, Page, and Stage’, Victorian Studies 53:2 (Winter 2011): 255–85, p. 256.

3 [Anon.], ‘Pompeii’, Blackwood’s Edinburgh Magazine (April 1824): 472–5, pp. 472–3. See also Altick, Shows of London, p. 181. This refers to Robert Burford’s panorama ‘The Ruins of Pompeii and the Surrounding Country’ which opened in November 1823 on the Strand. A view of ‘The City of Naples’ including Mount Vesuvius had been exhibited in 1821 [The Morning Chronicle (Saturday 10 February 1821), advertisement, front page].

4 For de Loutherbourg, see Altick, Shows of London, pp. 96, 117–27.

5 Thomas McDonald Rendle, Swings and Roundabouts: A Yokel in London (Chapman & Hall 1919), p. 140. Martin’s canvas was itself based on Edwin Atherstone’s long poem The Last Days of Herculaneum (1821). A review of the Egyptian Hall Martin show appeared in ‘Fine Arts’, Literary Gazette 270 (23 March 1822), p. 185.

6 R.H., ‘Picture of the Destruction of Pompeii and Herculaneum’, Examiner (7 April 1822), p. 219. The canvas was displayed alongside a display of live reindeer and Laplanders posing in front of a diorama. See Martin Myrone (ed.), John Martin: Apocalypse (London: Tate Publishing, 2011), pp. 109–10. In May 1828, crowds flocked to the Western Exchange, Old Bond Street, to see John Martin’s The Deluge (1826) and The Destruction of Nineveh (1828).

7 Lord Byron, The Age of Bronze, or Carmen Seculare et Annus Haud Mirabilis (London: John Hunt, 1823), p. 12 ll. 181–2. Byron himself had refused to travel to Naples to view Vesuvius. ‘Certainly he did not travel for fashion’s sake, nor would he follow in the wake of the herd of voyagers. As much as he had heard about the Mediterranean, he had never visited Vesuvius or Aetna, because all the world had’: R. N., ‘Personal Character of Lord Byron’, London Magazine 10 (October 1824): 337–47, p. 346. According to some, Byron’s dismissal of Vesuvius was in a ‘tone of dandyism he was wont to adopt’: H. W. B., ‘Letters from the Journal of a Traveller’, Metropolitan Magazine 78 (October 1837), p. 221.

8 [George Mogridge], ‘Eruption of Mount Vesuvius’, in Sergeant Bell, and his Raree-Show, pp. 76–82. Thanks are due to Kate Flint for drawing my attention to this. Charles Dickens, ‘His Brown-Paper Parcel’, in Charles Dickens, Somebody’s Luggage, ed. Melissa Valiska Gregory and Melisa Klimaszewski (London: Hesperus Press, 2006), pp. 81–91, p. 87.

9 [Anon.], ‘Theatrical Examiner: King’s Theatre’, Examiner 1207 (20 March 1831), p.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.