Illustrations by Belsey
2010; Taylor & Francis; Volume: 24; Issue: 6 Linguagem: Inglês
10.1080/0950236x.2010.521674
ISSN1470-1308
Autores Tópico(s)Shakespeare, Adaptation, and Literary Criticism
ResumoClick to increase image sizeClick to decrease image size Notes Catherine Belsey, Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture (Hampshire: Macmillan, 1999), p. 55. For an account of cultural criticism, see pp. 1–25. Belsey, Shakespeare and the Loss of Eden, p. xv. Belsey also discusses the interpretation of visual ‘texts’ in Neil Badmington, ‘From Critical Practice to Cultural Criticism: An Interview with Catherine Belsey’, Textual Practice 19.1 (2005), pp. 1–12, 8. Gérard Genette, Seuils (Paris: Editions du Seuil, 1987). Translated as Paratexts: Thresholds of Interpretation, trans. Jane E. Lewin (Cambridge: Cambridge University Press, 1997). Tellingly, while Genette alludes briefly to illustrations as ‘paratexts’, he does not discuss them in any detail. William Makepeace Thackeray, The History of Pendennis. His Fortunes and Misfortunes, His Friends and His Greatest Enemy, Vol. I (London: Bradbury and Evans, 1849), p. 234. Pendennis was issued in monthly parts from November 1848 to December 1850. The first edition in book form was published in two volumes in 1849–1850. See, for example, Victor R. Kennedy, who asserts that ‘When the author is also the illustrator … what is otherwise at best a symbiotic relationship may give way to a unified vision’. Victor R. Kennedy, ‘Pictures as Metaphors in Thackeray's Illustrated Novels’, Metaphor and Symbol 9.2 (1994), pp. 135–147, 136. ‘W. M. Thackeray and Arthur Pendennis, Esquires. Robert Bell's Ladder of Gold’, Fraser's Magazine for Town and Country 43.253 (January 1851), pp. 75–90, 85. Thackeray, Pendennis Vol. I, p. 22. See, for example, John Buchanan-Brown, The Illustrations of William Makepeace Thackeray (Newton Abbot: David and Charles, 1979). See, for example, Mary Cowden Clarke, The Girlhood of Shakespeare's Heroines: In a Series of Tales (London: W. H. Smith, 1850–1851). ‘Imaginary Conversation’, Man in the Moon II.X (1847), pp. 181–185. ‘Dramatic Intelligence’, Musical World 23.2 (January 1848), p. 23. ‘Miss Benimble's Tea-and-Toast’, Punch, March 31, 1849. Virginia Mason Vaughan, Othello: A Contextual History (Cambridge: Cambridge University Press, 1994), p. 151. Stuart Sillars, The Illustrated Shakespeare, 1709–1875 (Cambridge: Cambridge University Press, 2008), p. 6. This image is reproduced in Vaughan, Othello, p. 152. See James R. Siemon, ‘“Nay, that's not next”: Othello, V.ii in Performance, 1760–1900’, Shakespeare Quarterly 37.1 (Spring 1986), pp. 38–51. Michael Neill, ‘Unproper Beds: Race, Adultery, and the Hideous in Othello’, Shakespeare Quarterly 40.4 (Winter 1989), pp. 383–412, 384. The only image of Desdemona's actual murder of which I am aware is Hubert François Gravelot's design for L. Theobald's second edition of The Works of Shakespeare (London: H. Lintott, 1740). The image is doubly unusual in that it shows Desdemona being strangled rather than stifled or smothered. Siemon, ‘“Nay, that's not next”’, p. 47. Mary Cowden Clarke, ‘On Shakespeare's Individuality in his Characters’, Sharpe's London Journal 10 (July 1849), pp. 196–200, 200. ‘Dramatic Intelligence’, Musical World 23.2 (January 1848), p. 23. See, for example, The Times, March 24, 1849, p. 5. [George Henry Lewes], ‘Shakespeare's Critics: English and Foreign’, Edinburgh Review 90.181 (July 1849), pp. 39–77, 43. See Julia Thomas, Pictorial Victorians: The Inscription of Values in Word and Image (Athens, OH: Ohio University Press, 2004), pp. 35–36. Thackeray, Pendennis Vol. II (1850), p. 8. According to the Quarterly Review, ‘It was Edmund Kean who first set the example which has been followed ever since on the English and American stage, and gave us a brown Othello’. [Charles R. Smith], ‘Pictorial Illustrations of Shakespeare’, Quarterly Review 142.284 (October 1876), pp. 457–479, 469. ‘The Drama and Public Amusements’, Critic of Books, Society, Pictures, Music and Decorative Art 7.160 (January 1848), p. 57. Charles Knight (ed.), ‘The Pictorial Edition of the Works of Shakespeare’ Tragedies, Vol. 1 (London: Charles Knight and Co., 1839–1840), p. 273. Knight (ed.), The Pictorial Edition of the Works of Shakespeare, p. 273. Deborah A. Thomas, Thackeray and Slavery (Athens, OH: Ohio University Press, 1993), pp. 76–95. Thackeray, Pendennis Vol. I, p. 242. William Archer, William Charles Macready (London: Kegan Paul, Trench, Trubner, and Co., 1890), p. 202. Virginia Mason Vaughan observes that Macready did not seem to have made the connection with slavery. Vaughan, Othello, p. 154. ‘Othellos in New Orleans’, Punch, March 31, 1849. Ibid. Ibid. ‘The Slave Mart at New Orleans’, Anti-Slavery Reporter and Aborigine's Friend 3.34 (October 1848), p. 163. Thackeray, Pendennis Vol. II, p. 372. Thackeray, Pendennis Vol. II, p. 349. Joan Stevens, ‘Thackeray's Pictorial Capitals’, Costerus 2 (1974), pp. 113–140. Thackeray, Pendennis Vol. I, p. 239. Thackeray, Pendennis Vol. II, p. 173. Thackeray, Pendennis Vol. II, p. 347. [George Henry Lewes], ‘Currer Bell's Shirley’, Edinburgh Review 91.183 (January 1850), 153–173, 155. ‘Thackeray and His Works’, Palladium: A Monthly Journal of Literature, Politics, Science and Art 2 (March 1851), pp. 185–196, 190–191. ‘David Copperfield and Pendennis’, Prospective Review 26 (April 1851), pp. 157–191, 178–179. G. P. Webster, ‘A Dream of the Period’, Nast's Illustrated Almanac for 1871 (New York: McLoughlin Brothers, 1870), pp. 56–63, 57. Webster, ‘A Dream of the Period’, p. 59.
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