Vital Matter(s): Shelley, Herder, and Sculpture

References

• Colwell, Frederic S. “Shelley and Italian Painting.” Keats-Shelley Journal 29 (1980): 43–66. JSTOR. Web. 14 Jan. 2018.
   Web of Science ®Google Scholar
• Colwell, Frederic S. “Shelley on Sculpture: The Uffizi Notes.” Keats-Shelley Journal 28 (1979): 59–77. JSTOR. Web. 14 Jan. 2018.
   Google Scholar
• Décultot, Elisabeth. “Le Spectateur comme Pygmalion.” De la Description. By J. J. Winckelmann. Ed. Elisabeth Décultot. Paris: Editions Macula, 2006. 5–41. Print.
   Google Scholar
• Ferris, David S. Silent Urns: Romanticism, Hellenism, Modernity. Stanford: Stanford UP, 2000. Print.
   Google Scholar
• Goslee, Nancy M. “Shelley’s ‘Notes on Sculpture’: Romantic Classicism in ‘Prometheus Unbound.’” The Comparatist 4 (1980): 11–22. JSTOR. Web. 14 Jan. 2018.
   Google Scholar
• Goslee, Nancy M. Uriel’s Eye: Miltonic Stationing and Statuary in Blake, Keats, and Shelley. University: U of Alabama P, 1985. Print.
   Google Scholar
• Hazlitt, William. Complete Works. Ed. P. P. Howe. 21 vols. London: Dent, 1930. Print.
   Google Scholar
• Herder, Johann Gottfried. Sculpture: Some Observations on Shape and Form from Pygmalion’s Creative Dream. Ed. and trans. Jason Gaiger. Chicago: U of Chicago P, 2002. Print.
   Google Scholar
• Holmes, Richard. Shelley: The Pursuit. London: HarperCollins, 1994. Print.
   Google Scholar
• Larrabee, Stephen A. English Bards and Grecian Marbles: The Relationship Between Sculpture and Poetry Especially in the Romantic Period. New York: Columbia UP, 1943. Print.
   Google Scholar
• Medwin, Thomas. The Life of Percy Bysshe Shelley. Ed. H. B. Forman. London; Milford; New York: Oxford UP, 1913. Print.
   Google Scholar
• Medwin, Thomas. Memoir of Percy Bysshe Shelley. London: Whittaker, 1833. Print.
   Google Scholar
• Murray, E. B. “Shelley’s ‘Notes on Sculptures’: The Provenance and Authority of the Text.” Keats-Shelley Journal 32 (1983): 150–71. JSTOR. Web. 14 Jan. 2018.
   Web of Science ®Google Scholar
• Pascoe, Judith. The Hummingbird Cabinet: A Rare and Curious History of Romantic Collectors. Ithaca: Cornell UP, 2006. Print.
   Google Scholar
• Peterson, Sarah. “Mediating Vision: Shelley’s Prose Encounters with Visual Art (1818–1820).” Keats-Shelley Review 22.1 (2008): 112–31. Scholarsportal. Web. 14 Jan. 2018. doi: 10.1179/ksr.2008.22.1.112
   Google Scholar
• Potts, Alex. Flesh and the Ideal: Winckelmann and the Origins of Art History. New Haven: Yale UP, 1994. Print.
   Google Scholar
• Rogers, Neville. “Shelley and the Visual Arts.” Keats-Shelley Memorial Bulletin 12 (1961): 9–17. Print.
   Google Scholar
• Schlegel, August W. A Course of Lectures on Dramatic Art and Literature. Trans. John Black. London: Baldwin, 1815. Print.
   Google Scholar
• Shelley, Mary W. The Journals of Mary Shelley, 1814–1844. Ed. Paula R. Feldman and Diana Scott-Kilvert. 2 vols. Oxford: Clarendon P, 1987. Print.
   Google Scholar
• Shelley, Percy B. Complete Works. Ed. Roger Ingpen and Walter E. Peck. 10 vols. New York: Gordian P, 1965. Print.
   Google Scholar
• Shelley, Percy B. The Letters of Percy Bysshe Shelley. Ed. Frederick L. Jones. 2 vols. Oxford: Clarendon P, 1964. Print.
   Google Scholar
• Solkin, David H. Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836. New Haven: Yale UP, 2001. Print.
   Google Scholar
• Thomas, Sophie. “Ekphrasis and Terror: Shelley, Medusa, and the Phantasmagoria.” Illustrations, Optics, and Objects in Nineteenth-Century Literary and Visual Cultures. Ed. Luisa Calè and Patrizia Di Bello. New York: Palgrave Macmillan, 2010. 25–43. Print.
   Google Scholar
• Wallace, Jennifer. Shelley and Greece: Rethinking Romantic Hellenism. Basingstoke: Macmillan, 1997. Print.
   Google Scholar
• Weinberg, Alan M. Shelley’s Italian Experience. Basingstoke: Macmillan, 1991. Print.
   Google Scholar
• Winckelmann, J. J. De la Description. Ed. Elisabeth Décultot. Paris: Editions Macula, 2006. Print.
   Google Scholar