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Tables of Contents for Studies in the Spectator Role
Chapter/Section Title
Page #
Page Count
List of illustrations
xi
Acknowledgements
xiii
Introduction
1
8
PART I Reading and viewing: the spectator-participant role
9
42
The reader in the secondary world
11
15
The spectator-participant
11
1
The reader's stance
12
2
The reader's role
14
4
The reader's world
18
5
Reading `Through the Tunnel'
23
3
Reading paintings: the self-conscious spectator
26
14
The viewer's role
26
2
(Un)divided attention
28
6
Looking around
34
3
Mapping responses
37
3
Reading poems, reading paintings: anyone for ekphrasis?
40
11
Seeing double
40
3
European Field: a poem reads a sculpture
43
4
Speaking out
47
4
PART II Words and images
51
152
Visualising narrative: Henry Unton and Henry V
53
15
Past and present
53
1
Positioning the spectator
54
3
A tale of two Henrys
57
7
Mind the gap
64
4
Theatrical fictions: Hogarth, Gay and Fielding
68
21
Animating the image
68
1
The theatrical mirror
69
3
The comic mirror: Hogarth and Fielding
72
13
Drama and narrative
85
3
Further reading
88
1
The image of childhood: variations on a Blakean theme
89
25
The innocent and experienced spectator
89
5
Constructions of childhood
94
17
Interpreting the image
111
3
Landscape and learning: Thomson and Wilson; Wordsworth and Constable
114
18
The politics of landscape
114
2
The spectator's viewpoint
116
13
Beyond the ha-ha: landscape schema in Thomson and Wilson
116
7
Interior landscape in Wordsworth and Constable
123
6
Educating the eye
129
3
Turner our contemporary: `Poetic Painting'
132
15
Three spectator-poets
132
1
Reflection, re-creation and resistance
133
10
Turner now and then
143
4
Painting Shakespeare
147
15
Illustration
147
1
Poem: the female muse
148
4
Script: the `painted devil'
152
2
Performance: `the play's the thing'
154
3
Text and image
157
5
Images of war: Spencer, Nash and the war poets
162
17
Earth and air
162
1
`Onward Christian Soldiers...': Spencer and Owen
163
8
Dystopian landscapes: Nash and Douglas
171
5
Cross-curricular issues
176
3
Myth: Hughes's `crow' and Heaney's `bog poems'
179
19
Myth-making
179
19
The `horror of Creation'
181
7
`Writing for myself': the poet as witness
188
10
Conclusions: spectatorship and education
198
5
Bibliography
203
9
Index
212