To browse Academia. This Element studies eighteenth-and early nineteenthcentury instances of transmediation, concentrating on how the same illustrations were adapted for new media and how they generated novel media constellations and meanings for these images. Focusing on the 'content' of the illustrations and its adaptation within the framework of a new medium, case studies examine the use across different media of illustrations comprehending both the designs for book illustrations and furniture prints of three eighteenth-century works: Defoe's Robinson Crusoe , Thomson's The Seasons and Richardson's Pamela These case studies reveal how visually enhanced material culture not only makes present the literary work, including its characters and story-world.
But they also demonstrate how, through processes of transmediation, changes are introduced to the illustration that affect comprehension of that work.
This title is also available as Open Access on Cambridge Core. Textual Cultures: Text, Contexts, Interpretation, Errata page ii List of figures vi Acknowledgments xiii Note on the text xvi Expanding the literary text 1 a textual studies approach The frontispiece 19 counterfeit authority and the author portrait The title page 60 advertisement, identity, and deceit Clarissa's musical score 92 a novel's politics engraved on copper plate The space of time graphic design and temporal distortion Sarah Fielding's David Simple a case study in the interpretive significance of punctuation The list and index a culture of collecting imprints upon the novel Coda Notes Works cited Index v 1.
Neither in Antiquity nor in the Middle Ages could literary theory settle the debate about the primacy of inspiration or imitation, Plato or Aristotle. It was in the Renaissance that serious efforts were made to reconcile the two theories, and one of the best syntheses came from England. The first part of the following essay is devoted to this. These are particularly conspicuous in the influence of emblem theory in England an Launched by print sellers as a new educational commodity, this particular type of drawing book exhibited both commercial acumen and cultural ambition by presenting a comprehensive programme to satisfy public desire for drawing instruction.
It also embodied a subtle process of cultural assimilation and influence. The complete drawing books thus played a role in shaping public perception of what constituted art within that hierarchy. Illustrations of literature often developed lives beyond the vision expressed in the artist's original book or print design, especially when they were adapted for use on other objects. In the process of moving from one object to another, these illustrations were made to function multi-medially.
