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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. In good all round condition. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 700grams, ISBN: 9780801432767.
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Seller's Description:
Good. Ships from UK in 48 hours or less (usually same day). Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire, United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks, rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry.
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Seller's Description:
Fair. Connecting readers with great books since 1972. Used textbooks may not include companion materials such as access codes, etc. May have condition issues including wear and notes/highlighting. We ship orders daily and Customer Service is our top priority!
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Seller's Description:
Very Good in Very Good jacket. Size: 9x6x1; In Very Good+ condition and Very Good+ dustjacket. A wide-ranging exploration of the complex and often conflicting discourse on photography in the nineteenth century, Framing the Victorians traces various descriptions of photography as art, science, magic, testimony, proof, document, record, illusion, and diagnosis. Victorian photography, argues Jennifer Green-Lewis, inspired such universal fascination that even two so self-consciously opposed schools as positivist realism and metaphysical romance claimed it as their own. Photography thus became at once the symbol of the inadequacy of nineteenth-century empiricism and the proof of its totalizing vision. Green-Lewis juxtaposes textual descriptions with pictorial representations of a diverse array of cultural activities from war and law enforcement to novel writing and psychiatry. She compares, for example, the exhibition of Roger Fenton's Crimean War photographs (1855) with W. H. Russell's written accounts of the war published in the Times of London (1884 and 1886). Nineteenth-century photography, she maintains, must be reread in the context of Victorian written texts from and against which it developed. Green-Lewis also draws on works by Thomas Hardy, Nathaniel Hawthorne, and Henry James, as well as published writing by Victorian photographers, in support of her view that photography provides an invaluable model for understanding the act of writing itself. We cannot talk about realism in the nineteenth century without talking about visuality, claims Green-Lewis, and Framing the Victorians explores the connections.
