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Writing on the Margins of the World: Hester Lynch Piozzi’s Retrospection (1801) as Middlebrow Art?

Writing on the Margins of the World: Hester Lynch Piozzi’s Retrospection (1801) as Middlebrow Art? Abstract: Hester Lynch Piozzi’s Retrospection is little discussed in the historiography of world history. This article explores Piozzi’s composition, publication, and repeated reinscription of the work from the mid 1780s to her death in 1821, and locates it within her varied efforts at describing a social index of affinity and cohesion. Drawing out this dimension of the work highlights the opportunity to connect textual annotation with another nineteenth-century textual expression of social relationships—photography—and thereby provides an avenue to expand John Sutton’s research on physical “exograms” through a consideration of desired as well as actual relationships. In this way, Retrospection —and world histories—are seen as opportunities for authors to bind themselves to the “middlebrow” communities of friend-readers, and thus as works of far “smaller compass” than traditional analyses of imperial and national themes would suggest. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of World History University of Hawai'I Press

Writing on the Margins of the World: Hester Lynch Piozzi’s Retrospection (1801) as Middlebrow Art?

Journal of World History , Volume 23 (4) – May 24, 2012

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 University of Hawai'i Press.
ISSN
1527-8050
Publisher site
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Abstract

Abstract: Hester Lynch Piozzi’s Retrospection is little discussed in the historiography of world history. This article explores Piozzi’s composition, publication, and repeated reinscription of the work from the mid 1780s to her death in 1821, and locates it within her varied efforts at describing a social index of affinity and cohesion. Drawing out this dimension of the work highlights the opportunity to connect textual annotation with another nineteenth-century textual expression of social relationships—photography—and thereby provides an avenue to expand John Sutton’s research on physical “exograms” through a consideration of desired as well as actual relationships. In this way, Retrospection —and world histories—are seen as opportunities for authors to bind themselves to the “middlebrow” communities of friend-readers, and thus as works of far “smaller compass” than traditional analyses of imperial and national themes would suggest.

Journal

Journal of World HistoryUniversity of Hawai'I Press

Published: May 24, 2012

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