Henry James and the Visual by Kendall JohnsonHenry James and the Visual by Kendall Johnson

Henry James and the Visual

byKendall Johnson

Paperback | June 16, 2011

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In the decades after the Civil War, how did Americans see the world and their place in it? In this 2007 text, Kendall Johnson argues that Henry James appealed to his readers' sense of vision to dramatise the ambiguity of American citizenship in scenes of tense encounter with Europeans. By reviving the eighteenth-century debates over beauty, sublimity, and the picturesque, James weaves into his narratives the national politics of emancipation, immigration, and Indian Removal. For James, visual experience is crucial to the American communal identity, a position that challenged prominent anthropologists as they defined concepts of race and culture in ways that continue to shape how we see the world today. To demonstrate the cultural stereotypes that James reworked, the book includes twenty illustrations from periodicals of the nineteenth century. This study reaches startling conclusions not just about James, but about the way America defined itself through the arts in the nineteenth century.
Title:Henry James and the VisualFormat:PaperbackDimensions:264 pages, 9.02 × 5.98 × 0.59 inPublished:June 16, 2011Publisher:Cambridge University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0521283396

ISBN - 13:9780521283397


Table of Contents

Introduction: the cultural varieties of visual experience; 1. Classifying Donatello: the visual aesthetics of American exceptionalism; 2. A 'dark spot' in the picturesque: the aesthetics of polygenesis in Henry James's 'A Landscape-Painter'; 3. Rules of engagement: the arch-romance of visual culture in The American; 4. The scarlet feather: racial phantasmagoria in What Maisie Knew; 5. Pullman's progress: the politics of the picturesque in The American Scene; Epilogue: America seen; Bibliography.

Editorial Reviews

"From the opening sentence of the book...[Johnson] makes a convincing case for the resonance that he identifies between the visual languages of these pictures and James's own visual language."
-Susan Griffin, University of Louisville, New England Quarterly