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The Good Look : = Victorian Visual Ethics and the Problem of Physical Difference.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Good Look :/
其他題名:	Victorian Visual Ethics and the Problem of Physical Difference.
作者:	Prizel, Natalie Veda.
面頁冊數:	1 online resource (452 pages)
附註:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
標題:	British & Irish literature. -
電子資源:	click for full text (PQDT)
ISBN:	9780355027921

The Good Look : = Victorian Visual Ethics and the Problem of Physical Difference.
Prizel, Natalie Veda.

The Good Look :Victorian Visual Ethics and the Problem of Physical Difference. - 1 online resource (452 pages)

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--Yale University, 2017.

Includes bibliographical references

What might be gained by using a contemporary term that marks a theoretical orientation---disability---in conjunction with aesthetic and ethical principles almost two hundred years old? My dissertation demonstrates the ways in which Victorian artists, thinkers, and writers---particularly between the 1840's and 1870's---were, in effect, early disability theorists. To make this argument requires a fundamental revision of what disability means: my dissertation defines disability less as a descriptive category in a taxonomy of difference---Victorians being infamous for their taxonomical impulses---than an ethic of relations derived from visual encounters with physically aberrant persons. My project challenges a tendency in disability studies towards suspicion of the Victorians, and in particular, "we other Victorians" advanced by Michel Foucault in The History of Sexuality. It instead seeks to read the Victorian period reparatively, following the ethical, epistemological, and interpretive practice defined by Eve Kosofsky Sedgwick. Simultaneously, my work participates in the current ethical turn in Victorian studies; it puts disability at the center of this reorientation of the field while recommitting to aesthetic form and perception as the essential components of literary ethics. This project also articulates a new concept into queer, that of extra-normativity , to think about the way the aberrant figures discussed are both shaped by and in excess of the norm but not necessarily in opposition to it.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355027921Subjects--Topical Terms:

1148425
British & Irish literature.
Index Terms--Genre/Form:

554714
Electronic books.

The Good Look : = Victorian Visual Ethics and the Problem of Physical Difference.
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500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
500 $a Adviser: Janice Carlisle.
502 $a Thesis (Ph.D.)--Yale University, 2017.
504 $a Includes bibliographical references
520 $a What might be gained by using a contemporary term that marks a theoretical orientation---disability---in conjunction with aesthetic and ethical principles almost two hundred years old? My dissertation demonstrates the ways in which Victorian artists, thinkers, and writers---particularly between the 1840's and 1870's---were, in effect, early disability theorists. To make this argument requires a fundamental revision of what disability means: my dissertation defines disability less as a descriptive category in a taxonomy of difference---Victorians being infamous for their taxonomical impulses---than an ethic of relations derived from visual encounters with physically aberrant persons. My project challenges a tendency in disability studies towards suspicion of the Victorians, and in particular, "we other Victorians" advanced by Michel Foucault in The History of Sexuality. It instead seeks to read the Victorian period reparatively, following the ethical, epistemological, and interpretive practice defined by Eve Kosofsky Sedgwick. Simultaneously, my work participates in the current ethical turn in Victorian studies; it puts disability at the center of this reorientation of the field while recommitting to aesthetic form and perception as the essential components of literary ethics. This project also articulates a new concept into queer, that of extra-normativity , to think about the way the aberrant figures discussed are both shaped by and in excess of the norm but not necessarily in opposition to it.
520 $a The ethics enacted in encounters, I argue, are grounded not only in Victorian moral earnestness (earnestness that was at times misguided or even violently oppressive), but also in aesthetic principles espoused by mid-Victorian critics and artists, Relying primarily on the aesthetic theories of John Ruskin---particularly those articulated in the early volumes of Modern Painters and The Elements of Drawing---I contend that the way Ruskin demands that one look at nature is designedly instructive for encounters with other people as well, The most significant of Ruskin's concepts for my argument is his idea of "innocence of the eye" through which he calls for a return to infantine sight that precedes judgment or classification, if not cognition altogether. Though Ruskin understands such innocence to be an asymptote or limit case that only the greatest artists draw near, I argue that this is precisely the manner of looking that Victorian literature and visual art demand in encounters with disabled persons, Thus, Victorian texts and images stage encounters that enact the moment of seeing that precedes knowing, encounters in which, as Amanda Anderson argues, "ethics always precedes epistemology." Victorian visual ethics, however, are necessarily aspiration; moreover, they come into clearest focus in scenes that demonstrate their failure. In focusing on such moments of failure, I consider how disabled subjects control the encounter by casting themselves in relation to their status as laborers. I challenge a long-standing assumption about the mutual exclusivity of disability and work. My inclusion of both visual and verbal arts reflects not so much a desire to compare themes across the sister arts; rather, my project, though grounded in literary study, privileges the visual insofar as the literary moments at its core are static ones, moments in which narrative progression is plasticized into a spatial tableau that in turn suggests narrative.
520 $a This dissertation is divided into four chapters, following a general introduction, all of which are focused on the kind of labor in which disabled subjects engage while trying to thwart a knowing eye. The chapters are, therefore, title loosely by occupation: Working Artists; Models, Sitters, Stunners; Beggars; and The Heroes of 1872, followed by an Epilogue that examines what has been lost in the inherited Modernist rejection of the Victorian period.
520 $a My dissertation concludes by drawing out the implications of viewing disability as an ethical and relational orientation rather than a medical, legal, or social category. Though not directly linked to a teleological narrative toward self-awareness and the construction of social movements, my conception of disability as a performed relation is useful for disability scholars and activists today insofar as it recalls how ideas of disability justice are fundamentally rooted in ethical relations. My turn to the present does not undo the historical specificity of Victorian visual ethics; rather, my argument suggests the value of a sustained ethic that might endure beyond its originary moment.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a British & Irish literature. $3 1148425
650 4 $a LGBTQ studies. $3 1179297
650 4 $a Art history. $3 1180038
655 7 $a Electronic books. $2 local $3 554714
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710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Yale University. $3 1178968
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