Forms

Levine, Caroline

doi:10.1515/9781400852604

Cited by 205 publications

(9 citation statements)

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“…24 In literary studies, Caroline Levine has enlisted affordances to think about how literary forms link to political life, since they help identify what the patterns of different forms are "capable of doing." 25 Instead of form, my consideration of affordances arises out of environmental and archival materiality, in particular how material processes of cyanotype-making tap into an emergent ecomaterialist consciousness that characterized mid-nineteenth-century archiving.…”

Section: Autobotanographies and Eco-archivingmentioning

confidence: 99%

“…Instead of approaching the past as a sequestered object of knowledge, strategic presentism begs us to speculate about how a historical object may "have implications beyond its time." 89 In closing, I would like to suggest that cyanotypes share a peculiar relationship to projects of strategic presentism-one that invites us to ponder the durational dimensions of these implications, especially as they relate to documenting the Anthropocene, its connections to the nineteenth century, and the archive's pledge to preserving enduring bodies of knowledge.…”

Section: Atkins's Posthumous Tentaclesmentioning

confidence: 99%

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“Impressions of Plants Themselves”: Materializing Eco-Archival Practices with Anna Atkins'sPhotographs of British Algae

Garascia¹

2019

Victorian Literature and Culture

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Three ghostly white plants float suspended atop the Prussian-blue background of a 27 x 21 cm print (fig. 1). Their leafy fronds are so exquisitely fine that in some places the blue bleeds through their tissues to expose delicate quiltings of veins and willowy inflorescences. Opaque white patches mottle each of the plants to signal where multiple layers of plant flesh overlap. The interplay of shapes, color, and textures in the image captures an atmospheric effect of alien beauty, nearly incomprehensible. That is, until the small label at the bottom of the print in meticulous penmanship informs us that we are looking atDelessaria sanguinea,a type of red algae commonly known as “Sea Beech.” This is one in the thousand-plus body of images that comprises Anna Atkins'sPhotographs of British Algae: Cyanotype Impressions. Dedicated to documenting England's native seaweed, ferns, and flowering plants, Atkins's photographic botanical project ranged about a decade (October 1843–53) and resulted in multiple editions she would give to friends and cultural institutions. While she primarily helmed the project herself, she occasionally included her father, zoologist and photography enthusiast John Children. For the last couple albums, she enlisted as a co-creator her “like a sister” Anne Dixon, who collected, arranged, and developed the images alongside Atkins.

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Section: Autobotanographies and Eco-archivingmentioning

confidence: 99%

Section: Atkins's Posthumous Tentaclesmentioning

confidence: 99%

“Impressions of Plants Themselves”: Materializing Eco-Archival Practices with Anna Atkins'sPhotographs of British Algae

Garascia¹

2019

Victorian Literature and Culture

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“…50 But, as we have seen, the situation is more complex than this because the antebellum financial system exhibited a novelistic tendency to "jumble and superimpose multiple and incommensurable rhythms," overlaying different tempos within a single extended sequence. 51 Traders within the system were playing a high stakes game with time, purchasing and providing temporary liquidity in the expectation of future payment, forever running ahead of themselves in a continuous process of "temporal displacement and recuperation." 52 In The Perils of Pearl Street these governing forms of temporality --financially mediated experiences of time --occupy a central place.…”

Section: Buying Time: the Cotton-for-credit Systemmentioning

confidence: 99%

“…In its concrete manifestations, this principle of interdependence might allow us to escape the rigid antinomies of individual autonomy and structural determination that are regularly called upon to explain economic life, making persons appear "less as powerful or symbolic agents in their own right than as moments in which complex and invisible social forces cross." 105 The creation of value is, undeniably, difficult to grasp because it is the work of many hands, mediated by different kinds of labour, and subject to the principal of deferral. But as Leigh Claire La Berge points out, nothing sustains the hegemony of finance more effectively than the belief that its convoluted operations are "beyond our collective cognitive, linguistic, and epistemological reach."…”

Section: Value Receivedmentioning

confidence: 99%

Writing a Bill of Exchange:The Perils of Pearl Street, The Adventures of Harry Franco, and the Antebellum Credit System

Lawson

2019

J. Am. Stud.

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This article examines representations of credit instruments in two popular antebellum fictions: Asa Greene's The Perils of Pearl Street and Charles Frederick Briggs's The Adventures of Harry Franco. Drawing on a range of business histories it describes the operation of promissory notes and bills of exchange in the cotton-for-credit system, focussing on the “principle of deferral” and the ways in which these instruments attempted to solve the problem of time in long-distance exchange. By establishing concrete connections between characters, times, and places, these fictions demystify the antebellum financial system, revealing an economy based on new forms of social interdependence.

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“…Indeed, the recent groundswell of methodological polemics on the one hand (Rita Felski, Heather Love, Stephen Best, Sharon Marcus) and formal polemics on the other (Caroline Levine, Marjorie Levinson, Tom Eyers) appears to be symptomatic of an anxiety about literary studies more generally (see Felski, 2015;Love, 2010;Best and Marcus, 2009;Levine, 2015;Levinson, 2007;Eyers, 2017). We might best be able to capture this anxiety in the form of a question:…”

Section: Introductionmentioning

confidence: 99%