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Tongueless Mourning : = Visual-Material Rhetoric in Victorian Grief Rituals.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Tongueless Mourning :/
其他題名:
Visual-Material Rhetoric in Victorian Grief Rituals.
作者:
Morley, Carmen Renee.
面頁冊數:
1 online resource (100 pages)
附註:
Source: Masters Abstracts International, Volume: 84-12.
Contained By:
Masters Abstracts International84-12.
標題:
American history. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30318374click for full text (PQDT)
ISBN:
9798379744182
Tongueless Mourning : = Visual-Material Rhetoric in Victorian Grief Rituals.
Morley, Carmen Renee.
Tongueless Mourning :
Visual-Material Rhetoric in Victorian Grief Rituals. - 1 online resource (100 pages)
Source: Masters Abstracts International, Volume: 84-12.
Thesis (M.A.)--The Florida State University, 2023.
Includes bibliographical references
Despite the prevalence of mourning rituals across cultures and time, not much work focusing on the visual-material practices has been done within the field of rhetorical studies, which, up until the 1970s, focused almost entirely on the discursive. This limited scope overlooks the importance of nondiscursive expressions of sorrow. This thesis sheds light on the underserved visual-material mourning rhetorics through analysis of three different mourning photographs from the Victorian era: a daguerreotype, an ambrotype, and a silver gelatin print. The research questions guiding this inquiry include the following: first, how did photography operate as a visual expression of grief in the Victorian era, and second, how did photography function as a material expression of grief? In addressing these questions, this research uncovered the varied ways the photographs functioned rhetorically during the Victorian Era in the United States to assuage pain through visual and material strategies. To begin, one photograph relied on visually eulogizing the deceased's character through phrenological and physiognomic display; another invited the viewer into doubly perceiving a child in his final portrait as both alive and dead; and, finally, a third evoked Christian iconography of angels and the Madonna to portray the deceased as peacefully existing in heaven. Each palliated grief through specific configurations of image content. Second, insights derived from an analysis of the photographs' materiality included the unique way the mirror-like surface of a daguerreotype reflects a mourner's likeness alongside the image of their loved one while the small size of the photograph promoted mobile use; the ambrotype featured the haptic sensation that accompanies holding a physical object that represents a deceased loved one and thus fostered the ability to pick up or set down the memory and pain associated with it; the silver gelatin print from 1910 crafted a familial and communal memory by emphasizing display of the departed, a materiality informed by the universal trauma and mass death experienced in the American Civil War. Finally, the study uncovered the inextricable link between the visual and material in mourning rhetorics, illuminating the difficulty of separating the visual elements from the material elements when analyzing these photographic objects. The visual and the material features of these photographs inform and are informed by one another, providing important context, and increasing the impact of both elements. If the two were divorced, a deceased woman would be without her name or relationship to the mourner, information provided by the note pinned to the padded case housing her photograph; a mother would be unable to hold her child's photograph in her hands while studying a face she would otherwise never be able to look upon again; and a visually stunning image showcasing a child's celestial journey might be overlooked as just a pretty picture of individual sorrow. Ultimately, this study illuminated the immense influence of visual-material rhetorics of mourning in the Victorian era in the United States, highlighting the importance of such rhetorics to the discipline and thus the need to expand study beyond the three images featured in this work.
Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023
Mode of access: World Wide Web
ISBN: 9798379744182Subjects--Topical Terms:
2122692
American history.
Subjects--Index Terms:
GriefIndex Terms--Genre/Form:
542853
Electronic books.
Tongueless Mourning : = Visual-Material Rhetoric in Victorian Grief Rituals.
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Despite the prevalence of mourning rituals across cultures and time, not much work focusing on the visual-material practices has been done within the field of rhetorical studies, which, up until the 1970s, focused almost entirely on the discursive. This limited scope overlooks the importance of nondiscursive expressions of sorrow. This thesis sheds light on the underserved visual-material mourning rhetorics through analysis of three different mourning photographs from the Victorian era: a daguerreotype, an ambrotype, and a silver gelatin print. The research questions guiding this inquiry include the following: first, how did photography operate as a visual expression of grief in the Victorian era, and second, how did photography function as a material expression of grief? In addressing these questions, this research uncovered the varied ways the photographs functioned rhetorically during the Victorian Era in the United States to assuage pain through visual and material strategies. To begin, one photograph relied on visually eulogizing the deceased's character through phrenological and physiognomic display; another invited the viewer into doubly perceiving a child in his final portrait as both alive and dead; and, finally, a third evoked Christian iconography of angels and the Madonna to portray the deceased as peacefully existing in heaven. Each palliated grief through specific configurations of image content. Second, insights derived from an analysis of the photographs' materiality included the unique way the mirror-like surface of a daguerreotype reflects a mourner's likeness alongside the image of their loved one while the small size of the photograph promoted mobile use; the ambrotype featured the haptic sensation that accompanies holding a physical object that represents a deceased loved one and thus fostered the ability to pick up or set down the memory and pain associated with it; the silver gelatin print from 1910 crafted a familial and communal memory by emphasizing display of the departed, a materiality informed by the universal trauma and mass death experienced in the American Civil War. Finally, the study uncovered the inextricable link between the visual and material in mourning rhetorics, illuminating the difficulty of separating the visual elements from the material elements when analyzing these photographic objects. The visual and the material features of these photographs inform and are informed by one another, providing important context, and increasing the impact of both elements. If the two were divorced, a deceased woman would be without her name or relationship to the mourner, information provided by the note pinned to the padded case housing her photograph; a mother would be unable to hold her child's photograph in her hands while studying a face she would otherwise never be able to look upon again; and a visually stunning image showcasing a child's celestial journey might be overlooked as just a pretty picture of individual sorrow. Ultimately, this study illuminated the immense influence of visual-material rhetorics of mourning in the Victorian era in the United States, highlighting the importance of such rhetorics to the discipline and thus the need to expand study beyond the three images featured in this work.
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