![]() Society member access to a journal is achieved in one of the following ways: If you cannot sign in, please contact your librarian. If your institution is not listed or you cannot sign in to your institution’s website, please contact your librarian or administrator.Įnter your library card number to sign in. Following successful sign in, you will be returned to Oxford Academic. ![]() Do not use an Oxford Academic personal account. When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Finally, with the specific case of apocalyptic spectacle and its implications of time travel, the chapter returns to the geological imagination and its complex relation between fact and fancy. It then examines how poetic texts worked alongside the displays to produce the illusion of verisimilitude: their use of Byron-the most popular poet of the period-serves to focus this discussion. This chapter begins by introducing these sites and their links with contemporary geological display, for which the art of John Martin became a shared reference point. To understand how the mind's eye was expected to view these imaginary scenes, we first turn to the theatre itself, and to its direct descendants, the panorama and diorama, which is where virtual tourism began in earnest. Such imaginary views often assumed theatrical trappings, reflecting a longstanding conceit that the visible world was a theatre, a backdrop for the drama of history. Poems such as Thomson's Seasons invoked “the Muse” to display scenes for the mind's eye to drink in. This literature cradled the seeds of Victorian virtual tourism. Travel writing and topographical poetry met the public demand for contact with distant places.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |