Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-lnqnp Total loading time: 0 Render date: 2024-12-25T15:17:15.186Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  30 May 2018

Linda M. Austin
Affiliation:
Oklahoma State University
Get access
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abercrombie, John. Inquiries Concerning the Intellectual Powers and the Investigation of Truth. New York: J. & J. Harper, 1834.Google Scholar
Abney, W. de W.On the Latent Image and Its Development.” British Journal of Photography 10, no. 676 (1973): 183–84.Google Scholar
Adler, Judith. “Origins of Sightseeing.” Annals of Tourism Research 16, no. 1 (1989): 729.Google Scholar
Adorno, Theodor. Aesthetic Theory. Trans. Ledhardt, C.. New York: Routledge & Kegan Paul, 1984.Google Scholar
Albert, Robert S.Exceptional Creativity and Achievement.” In Genius and Eminence: The Social Psychology of Creativity and Exceptional Achievement, ed. Albert, Robert S., 1935. Oxford: Pergamon Press, 1983.Google Scholar
Albright, Daniel. “Toy Nightingales and Dancing Dolls: The Origins of Stravinsky's Drama.” The Kenyon Review New Series 10, no. 1 (1988): 114–19.Google Scholar
Alexander, Eban. Proof of Heaven: A Neurosurgeon's Journey into the Afterlife. New York: Simon and Schuster, 2012.Google Scholar
Ambrosio, Chiara. “Composite Photographs and the Quest for Generality: Themes from Peirce and Galton.” Critical Inquiry 42 (Spring 2016): 547–79.Google Scholar
Andrews, Malcolm. The Search for the Picturesque. Palo Alto, CA: Stanford University Press, 1989.Google Scholar
Appadurai, Arjun. The Social Life of Things: Commodities in Cultural Perspective. Cambridge: Cambridge University Press, 1986.Google Scholar
Ardis, Ann, and Collier, Patrick, eds. Transatlantic Print Culture, 1880–1940. London: Palgrave Macmillan, 2008.Google Scholar
Aristotle, . De Memoria et Reminiscentia. Trans. Sorabji, Richard. In Aristotle on Memory, ed. Sorabji, Richard. Providence, RI: Brown University Press, 1972.Google Scholar
Armstrong, Carol. Scenes in a Library: Reading Photography in the Book, 1843–1875. Cambridge, MA: The MIT Press, 1998.Google Scholar
Armstrong, Tim. Modernism, Technology, and the Body: A Cultural Study. Cambridge: Cambridge University Press, 1998.Google Scholar
Bailly, Christian. Automata: The Golden Age, 1848–1914. London: Sotheby's, 1987.Google Scholar
Bain, Alexander. The Emotions and the Will. Ed. Robinson, Daniel N.. Washington, DC: University Publications of America, 1977.Google Scholar
Bain, Alexander. The Senses and the Intellect. 2nd ed. London: Longman, 1864.Google Scholar
Bainton, George. The Art of Authorship: Literary Reminiscences, Methods of Work, and Advice to Young Beginners. New York: Appleton, 1890.Google Scholar
Barbier, Carl Paul. William Gilpin: His Drawings, Teachings, and Theory of the Picturesque. Oxford: Clarendon Press, 1963.Google Scholar
Barrell, John. The Dark Side of the Landscape. Cambridge: Cambridge University Press, 1980.Google Scholar
Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Howard, Richard. New York: Hill and Wang, 1981.Google Scholar
Barthes, Roland. Image-Music-Text. Trans. Heath, Stephen. London: Fontana, 1977.Google Scholar
Bartram, Michael. The Pre-Raphaelite Camera: Aspects of Victorian Photography. Boston: Little, Brown, 1985.Google Scholar
Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge, MA: The MIT Press, 1997.Google Scholar
Bazin, André. What Is Cinema? Trans. Gray, Hugh. Berkeley: University of California Press, 1967.Google Scholar
Bear, Jordan. Disillusioned: Victorian Photography and the Discerning Subject. University Park: The Pennsylvania State University Press, 2015.CrossRefGoogle Scholar
Beaumont, Cyril W. Michel Fokine & His Ballets. New York: Dance Horizons, 1981.Google Scholar
Beaune, Jean-Claude. “The Classical Age of Automata: An Impressionistic Survey from the Sixteenth to the Nineteenth Century.” In Fragments for a History of the Human Body. Pt. 1, ed. Feher, Michel, Naddaff, Ramona, and Tazi, Nadia, 431–80. New York: Zone, 1989.Google Scholar
Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations, trans. Zohn, Harry, 217–52. New York: Schocken Books, 1969.Google Scholar
Bennett, Edward T Automatic Speaking and Writing – a Study. London: Brimley Johnson, 1905.Google Scholar
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Trans. Brereton, Cloudesley and Rothwell, Fred. New York: Macmillan, 1911.Google Scholar
Bergson, Henri. Matter and Memory. Trans. Paul, N. M. and Palmer, W. S.. London: George Allen and Unwin, 1911.Google Scholar
Berkeley, Herbert B.On the Latent Image.” British Journal of Photography 25, no. 942 (1878): 246–47.Google Scholar
Bermingham, Ann. Landscape and Ideology. Berkeley: University of California Press, 1986.Google Scholar
Besant, Walter. Essays and Historiettes. Port Washington, NY: Kennikat Press, 1970.Google Scholar
Besant, Walter. The Pen and the Book. London: Thomas Burleigh, 1899.Google Scholar
Best, Stephen, and Marcus, Sharon. “Surface Reading: An Introduction.” Representations 108, no. 1 (2009): 121.Google Scholar
Bibiena, Jean-Galli de. The Fairy Doll. Trans. H. B. V. London: Chapman & Hall, 1925.Google Scholar
Black, Alexander [Huntington, Dwight W.]. “The Amateur Photographer.” The Century Illustrated Monthly Magazine 34, no. 5 (1887): 722–33.Google Scholar
Blasis, Carlo. The Code of Terpsichore: A Practical and Historical Treatise, on the Ballet, Dancing, and Pantomime, etc. Trans. Barton, R.. London: James Bulcock, 1828.Google Scholar
Blasis, Carlo. An Elementary Treatise upon the Theory and Practice of the Art of Dancing. Trans. Evans, Mary Stewart. 3rd ed. New York: Dover, 1968. First published 1820.Google Scholar
Blasis, Carlo. Notes upon Dancing, Historical and Practical. Trans. Barton, R.. London: M. Delaporte, 1847.Google Scholar
Bolens, Guillemette. The Style of Gestures: Embodiment and Cognition in Literary Narrative. Baltimore: The Johns Hopkins University Press, 2012.CrossRefGoogle Scholar
Boorstin, Daniel. The Image: A Guide to Pseudo-Events in America. New York: Harper & Row, 1961.Google Scholar
Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Trans. Nice, Richard. London: Routledge, 1984.Google Scholar
Bourdieu, Pierre. Photography: A Middle-Brow Art. London: Polity Press, 1990.Google Scholar
Bower, Gordon. “A Brief History of Memory Research.” In The Oxford Handbook of Memory, ed. Tulving, Endel and Craik, Fergus I. M., 332. Oxford: Oxford University Press, 2000.Google Scholar
Bowlby, Rachel. Just Looking: Consumer Culture in Dreiser, Gissing, and Zola. London: Methuen, 1985.Google Scholar
Brandstetter, Gabriele. “The Code of Terpsichore: The Dance Theory of Carlo Blasis: Mechanics as the Matrix of Grace.” Topoi 24 (2005): 6779.Google Scholar
Brantlinger, Patrick. The Reading Lesson: The Threat of Mass Literacy in Nineteenth-Century British Fiction. Bloomington: Indiana University Press, 1998.Google Scholar
Brassaï, . “Images Latentes.” l'Intransigeant, November 15, 1932, 6.Google Scholar
Brassaï, . Proust in the Power of Photography. Trans. Howard, Richard. Chicago: University of Chicago Press, 2001.Google Scholar
Breton, André. “The Automatic Message.” In What Is Surrealism? Selected Writings, ed. Rosemont, Franklin, 97109. New York: Monad Press, 1978.Google Scholar
Breton, André. Surrealism and Painting. Trans. Taylor, Simon Watson. New York: Harper & Row, 1965.Google Scholar
Brockway, Merrill. “Choreography by Balanchine.” In Dance in America. DVD. New York: Nonesuch, 1978–79.Google Scholar
Brown, Bill. A Sense of Things: The Object Matter of American Literature. Chicago: University of Chicago Press, 2003.Google Scholar
Brown, Bill. “Thing Theory.” Critical Inquiry 28, no. 1 (2001): 122.Google Scholar
Bryson, Norman. “Cultural Studies and Dance History.” In Meaning in Motion, ed. Desmond, Jane C., 5580. Durham, NC: Duke University Press, 1997.Google Scholar
Buckland, Gail. Fox Talbot and the Invention of Photography. Boston: David R. Godine, 1980.Google Scholar
Buckley, Jerome. “John Stuart Mill's ‘True’ Autobiography.” Studies in the Literary Imagination 23 (1990): 223–31.Google Scholar
Byrne, Alex. “Intentionality.” In Philosophy of Science: An Encyclopedia, 2 vols., ed. Piffer, Jessica and Sarkar, Sahotra, 1:405–10. New York: Routledge, 2005.Google Scholar
Caffin, Charles. Photography as a Fine Art. Hastings-on-Hudson, NY: Morgan and Morgan, 1971. First published 1901.Google Scholar
Carlisle, Janice. John Stuart Mill and the Writing of Character. Athens: University of Georgia Press, 1991.Google Scholar
Carlyle, Thomas. Sartor Resartus. Ed. McSweeney, Kerry and Sabor, Peter. Oxford: Oxford University Press, 1987.Google Scholar
Capuano, Peter J. Changing Hands: Industry, Evolution, and the Reconfiguration of the Victorian Body. Ann Arbor: University of Michigan Press, 2015.Google Scholar
Carpenter, W. B.On the Doctrine of Human Automatism.” The Contemporary Review 25 (1875): 397416.Google Scholar
Carpenter, W. B. Principles of Mental Physiology. New York: D. Appleton, 1874.Google Scholar
Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. Cambridge, MA: Harvard University Press, 1979.Google Scholar
Chapuis, Alfred, and Droz, Edmond. Automata: A Historical and Technological Study. Trans. Reid, Alec. Neuchatel: Griffon, 1958.Google Scholar
Child, Gilbert W.Physiological Psychology.” The Westminster Review NS 33 (1868): 3765.Google Scholar
Cicero, . Ad C. Herennium de Ratione Dicendi (Rhetorica ad Herennium). Trans. Caplan, Harry. Cambridge, MA: Harvard University Press, 1968.Google Scholar
Clough, Patricia Ticineto, and Halley, Jean O'Malley. The Affective Turn: Theorizing the Social. Durham, NC: Duke University Press, 2007.Google Scholar
Clayton, Jay. Charles Dickens in Cyberspace: The Afterlife of the Nineteenth Century in Postmodern Culture. Oxford: Oxford University Press, 2003.Google Scholar
Coleridge, Samuel Taylor. Biographia Literaria. 2 vols. Princeton, NJ: Princeton University Press, 1983.Google Scholar
Collier, Patrick. Modernism on Fleet Street. Burlington, VT: Ashgate, 2006.Google Scholar
Condillac, Étienne Bonnot de. Treatise on the Sensations. Trans. Carr, Geraldine. Los Angeles: University of Southern California School of Philosophy, 1930.Google Scholar
Copley, Stephen, and Garside, Peter, eds. The Politics of Picturesque. Cambridge: Cambridge University Press, 1994.Google Scholar
Cottom, Daniel. Abyss of Reason: Cultural Movements, Revelations, and Betrayals. Oxford: Oxford University Press, 1991.Google Scholar
Cottom, Daniel. “The Work of Art in the Age of Mechanical Digestion.” Representations 66 (Spring 1999): 5274.Google Scholar
Cox, Catharine Morris et al., The Early Traits of Three Hundred Geniuses. Palo Alto, CA: Stanford University Press, 1926.Google Scholar
Crane, Mary Thomas. “Surface, Depth, and the Spatial Imaginary: A Cognitive Reading of The Political Unconscious.” Representations 108, no. 1 (2009): 7697.Google Scholar
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: The MIT Press, 1992.Google Scholar
Cronin, Richard. Romantic Victorians: English Literature, 1824–1840. Houndsmills, UK: Palgrave, 2002.Google Scholar
Cross, Nigel. The Common Writer: Life in Nineteenth-Century Grub Street. Cambridge: Cambridge University Press, 1985.Google Scholar
Culler, Jonathan. “Semiotics of Tourism.” American Journal of Semiotics 1 (1981): 127–40.Google Scholar
Cundall, H. M. Birket Foster. London: Adam and Charles Black, 1906.Google Scholar
Damasio, Antonio R. The Feeling of What Happens. New York: Harcourt Brace, 1999.Google Scholar
Dames, Nicholas. The Physiology of the Novel: Reading, Neural Science, and the Form of Victorian Fiction. London: Oxford University Press, 2007.Google Scholar
Darwin, Charles. The Expression of the Emotions in Man and Animals. 3rd ed. Oxford: Oxford University Press, 1998.Google Scholar
Daston, Lorraine, and Galison, Peter. Objectivity. New York: Zone Books, 2007.Google Scholar
Davidson, John. “In the Isle of Dogs.” In The Last Ballad and Other Poems, 131. London: John Lane and The Bodley Head, 1899.Google Scholar
Davidson, John. “In Romney Marsh.” In Ballads and Songs, 107–8. London: John Lane, 1895.Google Scholar
Davidson, John. “November.” In Holiday and Other Poems, 39. New York: Dutton, 1906.Google Scholar
Davidson, John. “On Poetry.” In Holiday and Other Poems, 131–56. New York: Dutton, 1906.Google Scholar
Davidson, John. A Random Itinerary. London: E. Mathews and J. Lane, 1894.Google Scholar
Davidson, John. The Theatrocrat: A Tragic Play of Church and Stage. London: E. Grant Richards, 1905.Google Scholar
Deleuze, Gilles, and Guattari, Félix. Anti-Oedipus: Capitalism and Schizophrenia. New York: Penguin, 1977.Google Scholar
Deleuze, Gilles, A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Massumi, Brian. Minneapolis: University of Minnesota Press, 1987.Google Scholar
Deleuze, Gilles, What Is Philosophy? Trans. Tomlinson, Hugh and Burchill, Graham. London: Verso, 1994.Google Scholar
Derrida, Jacques. “Economimesis.” Diacritics 11, no. 1 (1981): 325.CrossRefGoogle Scholar
Dharwadker, Vinay. “Emotion in Motion: The Nāṭyashāstra, Darwin, and Affect Theory.” PMLA 130, no. 5 (2015): 13811404.Google Scholar
Dixon, Thomas. From Passions to Emotions: The Creation of a Secular Psychological Category. Cambridge: Cambridge University Press, 2003.Google Scholar
Dowling, Linda. The Vulgarization of Art: The Victorians and Aesthetic Democracy. Charlottesville: University Press of Virginia, 1996.Google Scholar
D'Souza, Dinesh. Life after Death: The Evidence. Washington, DC: Regnery, 2009.Google Scholar
Dudek, Louis. Literature and the Press: A History of Printing, Printed Media, and Their Relation to Literature. Toronto: Ryerson Press, 1955.Google Scholar
Edwards, Steve. The Making of English Photography: Allegories. University Park: The Pennsylvania State University Press, 2006.Google Scholar
Ekman, Paul. “Introduction.” In The Expression of the Emotions in Man and Animals, 3rd ed., by Darwin, Charles, xxixxxvi. Oxford: Oxford University Press, 1998.Google Scholar
Ellenwood, Ray. Egregore: A History of the Montréal Automatist Movement. Toronto: Exile, 1992.Google Scholar
Emerson, Peter Henry. Naturalistic Photography for Students of the Art. 3rd ed. New York: Arno Press, 1973. First published 1899.Google Scholar
Emerson, Peter Henry. Naturalistic Photography for Students of the Art. London: Sampson Low, Marston, Searle, & Rivington, 1889.Google Scholar
Emerson, Peter Henry. The Death of Naturalistic Photography: Naturalistic Photography for Students of the Art. 3rd ed. New York: Arno Press, 1973. First published 1890.Google Scholar
Emerson, Peter Henry. “Our English Letter.” The American Amateur Photographer 1, no. 4 (1889): 163–65.Google Scholar
Emerson, Peter Henry. “Our English Letter.” The American Amateur Photographer 1, no. 5 (1889): 198201.Google Scholar
Emerson, Peter Henry. “Our English Letter.” The American Amateur Photographer I, no. 6 (1889): 239–43.Google Scholar
Erickson, Lee. The Economy of Literary Form: English Literature and the Industrialization of Publishing, 1800–1850. Baltimore: The Johns Hopkins University Press, 1996.Google Scholar
Evans, Jessica, and Hall, Stuart, eds. Visual Culture: The Reader. London Sage, 1999.Google Scholar
Evans, Rand B.Introduction: The Historical Context.” In The Principles of Psychology, by James, William, I:xlilxviii. Cambridge, MA: Harvard University Press, 1981.Google Scholar
Eysenck, H. J. Genius: The Natural History of Creativity. Cambridge: Cambridge University Press, 1995.Google Scholar
Eysenck, H. J. La Fata delle Bambole: Ballo Comico. Milan: Ricordi, 1930.Google Scholar
Fokine, Michel. Memoirs of a Ballet Master. Ed. Chujoy, A.. Trans. Fokine, V.. Boston: Little, Brown, 1961.Google Scholar
Foster, Susan Leigh. Choreographing Empathy: Kinesthesia in Performance. London: Routledge, 2011.Google Scholar
Freud, Sigmund. “A Note on the Prehistory of the Technique of Analysis.” In The Complete Psychological Works of Sigmund Freud. Trans. Strachey, James. London: The Hogarth Press and the Institute for Psychoanalysis, 1955. Essay first published 1920.Google Scholar
Fried, Michael. Absorption and Theatricality: Painting in the Age of Diderot. Berkeley: University of California Press, 1980.Google Scholar
Frow, John. “Tourism and the Semiotics of Nostalgia.” October 57 (1991): 123–51.CrossRefGoogle Scholar
Garber, Marjorie. Loaded Words. New York: Fordham University Press, 2012.Google Scholar
Gagnier, Regina. The Insatiability of Human Wants: Economics and Aesthetics in Market Society. Chicago: University of Chicago Press, 2000.Google Scholar
Galassi, Peter. Before Photography: Painting and the Invention of Photography. New York: The Museum of Modern Art, 1981.Google Scholar
Galvan, Jill. The Sympathetic Medium: Feminine Channeling, the Occult, and Communication Technologies, 1859–1919. Ithaca, NY: Cornell University Press, 2010.Google Scholar
Garafola, Lynn. Diaghilev's Ballets Russes. New York: Oxford University Press, 1989.Google Scholar
Gautier, Théophile. The Romantic Ballet. Trans. Beaumont, Cyril W.. New York: Dance Horizons, n.d. First published 1947.Google Scholar
Gettings, Fred. Ghosts in Photographs: The Extraordinary Story of Spirit Photography. New York: Harmony Press, 1978.Google Scholar
Gibbs, Raymond W., Jr. Embodiment and Cognitive Science. Cambridge: Cambridge University Press, 2006.Google Scholar
Gilpin, William. Observations on the River Wye, and Several Parts of South Wales, etc. London: Blamire, 1782.Google Scholar
Gilpin, William. Observations Relative Chiefly to Picturesque Beauty, made in the Year 1772, etc. 2 vols. London: Blamire, 1786.Google Scholar
Gilpin, William. Remarks on Forest Scenery, and Other Woodland Views, etc. 2 vols. London: Blamire, 1791.Google Scholar
Gissing, George. New Grub Street. Ed. Bergonzi, Bernard. London: Penguin Books, 1968.Google Scholar
Gitelman, Lisa. Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era. Stanford, CA: Stanford University Press, 1999.Google Scholar
Glass, Nigel. “Die Puppenfee in Vienna.” Dancing Times, March 1998, 531.Google Scholar
Goodall, Jane. “Transferred Agencies: Performance and the Fear of Automatism.” Theatre Journal 49 (1997): 441–53.CrossRefGoogle Scholar
Gould, Timothy. “Utterance and Theatricality: A Problem for Modern Aesthetics in Mill's Account of Poetry.” In Pursuits of Reason: Essays in Honor of Stanley Cavell, ed. Cohen, Ted, Guyer, Paul, and Putnam, Hilary, 133–57. Lubbock: Texas Tech University Press, 1993.Google Scholar
Gourreau, J. M.Si Coppélia m'etait conte.” Pour la danse: chansons et petits rats 47 (1978–79): 89.Google Scholar
Greenough, Sarah. “The Curious Contagion of the Camera.” In On the Art of Fixing a Shadow, ed. Greenough, Sarah et al., 129–54. Washington, DC: National Gallery of Art, 1989.Google Scholar
Green-Lewis, Jennifer. Framing the Victorians: Photography and the Culture of Realism. Ithaca, NY: Cornell University Press, 1996.Google Scholar
Griffiths, Paul E. What Emotions Really Are: The Problem of Psychological Categories. Chicago: University of Chicago Press, 1997.Google Scholar
Guillory, John. “Literary Study and the Modern System of the Disciplines.” In Disciplinarity at the Fin de Siecle, ed. Anderson, Amanda and Valente, Joseph, 19–43. Princeton, NJ: Princeton University Press, 2002.Google Scholar
Guest, Ivor. Ballet of the Second Empire. Middletown, CT: Wesleyan University Press, 1974.Google Scholar
Guest, Ivor. The Romantic Ballet in Paris. Middletown, CT: Wesleyan University Press, 1966.Google Scholar
Gunning, Tom. “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography's Uncanny.” In Fugitive Images: From Photography to Video, ed. Patrice, Petro, 4271. Bloomington: Indiana University Press, 1995.Google Scholar
Hack, Daniel. “Literary Paupers and Professional Authors: The Guild and Literature.” SEL 39, no. 4 (1999): 691713.Google Scholar
Hamilton, Sir William. Lectures on Metaphysics and Logic. Ed. Mansel, Henry L. and Veitch, John. 2 vols. New York: Sheldon, 1858.Google Scholar
Harker, Margaret. The Linked Ring: The Secession Movement in Photography in Britain, 1892–1910. London: Heinemann, 1970.Google Scholar
Harrison, Gary, and Heydt-Stevenson, Jill. “Variations on the Picturesque: Authority, Play, and Practice.” European Romantic Review 13 (2002): 310.Google Scholar
Hartman, Geoffrey. Beyond Formalism: Literary Essays 1958–1970. New Haven, CT: Yale University Press, 1970.Google Scholar
Hartman, Sadakichi. “A Plea for Straight Photography.” American Amateur Photographer 16 (1904): 101–9.Google Scholar
Hartmann, Eduard von. Philosophy of the Unconscious: Speculative Results According to the Inductive Method of Physical Science. London: Kegan Paul, Trench, Trubner, 1931.Google Scholar
Hayles, N. Katherine. “The Cognitive Nonconscious: Enlarging the Mind of the Humanities.” Critical Inquiry 42, no. 4 (2016): 783808.Google Scholar
Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press, 1999.Google Scholar
Hayles, N. Katherine. Unthought: The Power of the Cognitive Nonconscious. Chicago: University of Chicago Press, 2017.Google Scholar
Hegel, Georg Wilhelm Friedrich. Hegel's Philosophy of Mind, Being Part Three of the Encyclopedia of the Philosophical Sciences. Trans. Wallace, William, together with the Zusätze in Boumann's Text. Oxford: Clarendon Press, 1971.Google Scholar
Heinemann, William. The Hardships of Publishing: Letters to “The Athenaeum.” London: Ballantyne Press, 1893.Google Scholar
Helmholtz, Hermann von. “The Recent Progress of the Theory of Vision,” trans. Dr. Pye-Smith. In Popular Lectures on Scientific Subjects, 197317. New York: Appleton, 1891.Google Scholar
Helmholtz, Hermann Treatise on Physiological Optics. 3rd ed. Ed. and trans. Southall, James P. C.. 2 vols. New York: Dover, 1962. First published 1924.Google Scholar
Helsinger, Elizabeth K. Rural Scenes and National Representation: Britain, 1815–50. Princeton, NJ: Princeton University Press, 1997.Google Scholar
Hewison, Robert. The Heritage Industry. London: Methuen, 1987.Google Scholar
Hodgson, Shadworth Hollway. The Theory of Practice: An Ethical Inquiry. 2 vols. London: Longmans, Green, Reader, and Dyer, 1870.Google Scholar
Hoffmann, E. T. A.The Sand-Man.” In The Best Tales of Hoffmann, ed. Bleiler, E. F.. New York: Dover, 1967.Google Scholar
Holmes, Oliver Wendell. “The Stereoscope and the Stereograph.” The Atlantic Monthly 3, no. 20 (1859): 738–46.Google Scholar
Homans, Jennifer. Apollo's Angels. New York: Random House, 2010.Google Scholar
Houdini, Harry. The Unmasking of Robert-Houdin. New York: Publishers Printing, 1908.Google Scholar
Houghton, Miss [Georgiana]. Chronicles of the Photographs of Spiritual Beings and Phenomena Invisible to the Material Eye, etc. London: E. W. Allen, 1882.Google Scholar
Hunt, Alfred William. “Modern English Landscape Painting.” The Nineteenth Century 7 (1880): 778–94.Google Scholar
Hunt, Robert. A Manual of Photography. New York: Arno Press, 1973. First published 1853.Google Scholar
Hussey, Christopher. The Picturesque: Studies in a Point of View. London: Frank Cass, 1967. First published 1927.Google Scholar
Huxley, Thomas Henry. “On the Hypothesis That Animals Are Automata, and Its History.” In Science and Culture and Other Essays, 199245. London: Elibron Classics, 2001.Google Scholar
Huxley, Thomas Henry. “On the Physical Basis of Life.” In Agnosticism and Christianity and Other Essays, 6791. New York: Prometheus Books, 1992.Google Scholar
Jackson, George. “Ein ‘Ein-Ballet’ – Balletmeister?” Tanz Affiche 60 (1995–96): 27.Google Scholar
James, William. “Are We Automata?” In Essays in Psychology, 3861. Cambridge, MA: Harvard University Press, 1983.Google Scholar
James, William. “The Feeling of Effort.” In Essays in Psychology, 83124. Cambridge, MA: Harvard University Press, 1983.Google Scholar
James, William. The Principles of Psychology. 2 vols. Cambridge, MA: Harvard University Press, 1981.Google Scholar
Jefferies, Richard. “The Bathing Season.” In The Open Air, 132–46. London: Chatto & Windus, 1912.Google Scholar
Jefferies, Richard. “Golden-Brown.” In The Open Air, 2227. London: Chatto & Windus, 1912.Google Scholar
Jefferies, Richard. “Sunny Brighton.” In The Open Air, 4661. London: Chatto & Windus, 1912.Google Scholar
Jussim, Estelle. Visual Communication and the Graphic Arts: Photographic Technologies in the Nineteenth Century. New York: R. R. Bowker, 1974.Google Scholar
Kandel, Eric R. The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present. New York: Random House, 2012.Google Scholar
Kane, Carolyn L. Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code. Chicago: University of Chicago Press, 2014.Google Scholar
Kang, Minsoo. Sublime Dreams of Living Machines: The Automaton in the European Imagination. Cambridge, MA: Harvard University Press, 2011.Google Scholar
Keith, W. J. The Rural Tradition: A Study of the Non-Fiction Prose Writers of the English Countryside. Toronto: University of Toronto Press, 1974.Google Scholar
Kennedy, Janet. “Shrovetide Revelry.” In Petrushka: Sources and Contexts, 5166. Evanston, IL: Northwestern University Press, 1998.Google Scholar
Ketabgian, Tamara. The Lives of Machines: The Industrial Imaginary in Victorian Literature and Culture. Ann Arbor: University of Michigan Press, 2011.Google Scholar
Kiefer, Geraldine Wojno. Alfred Stieglitz: Scientist, Photographer, and Avatar of Modernism, 1880–1913. New York: Garland, 1991.Google Scholar
Kirstein, Lincoln. Movement and Metaphor. New York: Praeger, 1970.Google Scholar
Kleist, Heinrich von. “On Marionette Theater.” Trans. Gollub, Chistian-Albrecht. In German Romantic Criticism, ed. Willson, Leslie, 238–44. New York: Continuum, 1982.Google Scholar
Knight, Richard Payne. An Analytical Inquiry into the Principles of Taste. London: T. Payne, 1805.Google Scholar
Krauss, Rosalind. The Originality of the Avant-Garde and Other Modernist Myths. Boston: The MIT Press, 1975.Google Scholar
Kreisel, Deanna K.Wolf Children and Automata: Bestiality and Boredom at Home and Abroad.” Representations 96 (Fall 2006): 2147.Google Scholar
La Mettrie, Julien Offray de la. Man a Machine, Man a Plant. Trans. Watson, Richard A. and Rybalka, Maya. Indianapolis, IN: Hackett, 1994.Google Scholar
Lea, M. Carey. “The Nature of the Latent Image.” British Journal of Photography 12, no. 278 (1865): 447–48.Google Scholar
Lerebours, N. P. A Treatise on Photography. New York: Arno Press, 1973. First published 1843.Google Scholar
Levi, A. W.The Writing of Mill's Autobiography.” Ethics 61, no. 4 (1951): 284–96.Google Scholar
Levinson, André. “The Anatomy of a Sylph; Concerning the Beauty of Marie Taglioni.” Theatre Arts 12 (1928): 191–98.Google Scholar
Levinson, André. Marie Taglioni. Trans. Beaumont, Cyril W.. London: Dance Books, 1977.Google Scholar
Lewes, G. H.The Condition of Authors in England, Germany, and France.” Fraser's 35 (1847): 285–95.Google Scholar
Lewes, G. H. Problems of Life and Mind. 2 vols. Cambridge, MA: Riverside, Houghton, Osgood, 1879.Google Scholar
Liu, Alan. Wordsworth: A Sense of History. Palo Alto, CA: Stanford University Press, 1989.Google Scholar
Locke, John. An Essay Concerning Human Understanding. Ed. Nidditch, Peter H.. Oxford: Clarendon Press, 1975.Google Scholar
Loesberg, Jonathan. Fictions of Consciousness: Mill, Newman, and the Reading of Victorian Prose. New Brunswick, NJ: Rutgers University Press, 1986.Google Scholar
London, Bette. Writing Double: Women's Literary Partnerships. Ithaca, NY: Cornell University Press, 1999.Google Scholar
London Dialectical Society. Report on Spiritualism. London: J. J. Tiver, 1870.Google Scholar
Lowenthal, David. The Past Is a Foreign Country. Cambridge: Cambridge University Press, 1985.Google Scholar
MacCannell, Dean. The Tourist: A New Theory of the Leisure Class. New York: Schocken, 1976.Google Scholar
Makari, George. Revolution in Mind: The Creation of Psychoanalysis. New York: HarperCollins, 2008.Google Scholar
Makari, George. Soul Machine: The Invention of the Modern Mind. New York: W. W. Norton, 2015.Google Scholar
Manning, Erin. Relationscapes: Movement, Art, Philosophy. Cambridge, MA: The MIT Press, 2009.Google Scholar
Marien, Mary Warner. Photography and Its Critics: A Cultural History, 1839–1900. Cambridge: Cambridge University Press, 1997.Google Scholar
Martineau, Harriet. Guide to Windermere, with Tours to the Neighboring Lakes and Other Interesting Places, etc. 2nd ed. London: S. Garnett, 1854.Google Scholar
Massumi, Brian. A User's Guide to “Capitalism and Schizophrenia”: Deviations from Deleuze and Guattari. Cambridge, MA: The MIT Press, 1992.Google Scholar
Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press, 2002.Google Scholar
Mattheisen, Paul F., Young, Arthur C., and Coustillas, Pierre, eds. The Collected Letters of George Gissing. 9 vols. Athens: Ohio University Press, 1990.Google Scholar
Matus, Jill L. Shock, Memory and the Unconscious in Victorian Fiction. Cambridge: Cambridge University Press, 2009.Google Scholar
Matz, Aaron. Satire in the Age of Realism. Cambridge: Cambridge University Press, 2010.Google Scholar
Maudsley, Henry. Body and Will: Being an Essay Concerning Will in Its Metaphysical, Physiological, and Pathological Aspects. New York: Appleton, 1884.Google Scholar
Marey, E. J. Movement. Trans. Pritchard, Eric. New York: Appleton, 1895.Google Scholar
Mayhew, Henry. London Labour and the London Poor. 4 vols. New York: Dover, 1968. First published 1861.Google Scholar
Maynard, Patrick. The Engine of Visualization: Thinking through Photography. Ithaca, NY: Cornell University Press, 1997.Google Scholar
McMahon, Darrin. Divine Fury: A History of Genius. New York: Basic Books, 2013.Google Scholar
McWilliams, Neil, and Sekules, Veronica, eds. Life and Landscape: P. H. Emerson, Art & Photography in East Anglia, 1885–1900. Norwich: Saintsbury Centre for Visual Arts, 1986.Google Scholar
Menke, Richard. Telegraphic Realism: Victorian Fiction and Other Information Systems. Stanford, CA: Stanford University Press, 2008.Google Scholar
Merleau-Ponty, Maurice. The Visible and the Invisible. Ed. Lefort, Claude. Trans. Lingis, Alphonso. Evanston, IL: Northwestern University Press, 1968.Google Scholar
Michasiw, Kim Ian. “Nine Revisionist Theses on the Picturesque.” Representations 38 (1992): 76100.Google Scholar
Mill, James. Analysis of the Phenomena of the Human Mind. 2 vols. London: Longmans, 1878.Google Scholar
Mill, John Stuart. Collected Works. Ed. Robson, J. M. et al. 33 vols. Toronto: University of Toronto Press, 1981.Google Scholar
Mill, John Stuart. The Early Draft of John Stuart Mill's Autobiography. Ed. Stillinger, Jack. Urbana: University of Illinois Press, 1961.Google Scholar
Mitchell, W. J. T., ed. Landscape and Power. Chicago: University of California Press, 1994.Google Scholar
Mivart, St. George. “The New Psychology.” Nineteenth Century 45 (1899): 261–72.Google Scholar
Moir, Esther. The Discovery of Britain: The English Tourists. London: Routledge and Kegan Paul, 1964.Google Scholar
Moore, Lillian. “The First ‘Swanhilda.’Dancing Times 348 (1939): 617.Google Scholar
Morus, Iwan Rhys. Shocking Bodies: Life, Death & Electricity in Victorian England. Stroud: The History Press, 2011.Google Scholar
Moscovitch, Morris. “Theories of Memory and Consciousness.” In The Oxford Handbook of Memory, ed. Tulving, Endel and Craik, Fergus I. M., 609–25. Oxford: Oxford University Press, 2000.Google Scholar
Moses, William Stainton. Spirit Teachings. 10th ed. London: London Spiritualist Alliance, 1924.Google Scholar
Mühl, Anita. Automatic Writing, an Approach to the Unconscious. 2nd ed. New York: Helix Press, 1963. First published 1930.Google Scholar
Murray, Penelope. “Poetic Genius and Its Classical Origins.” In Genius: The History of an Idea, 931. Oxford: Blackwell, 1989.Google Scholar
Myers, Frederic William Henry. Human Personality and Its Survival of Bodily Death. Ed. Myers, Leopold Hamilton. London: Longmans, Green, 1907.Google Scholar
Nelson, Victoria. The Secret Life of Puppets. Cambridge, MA: Harvard University Press, 2001.Google Scholar
Newhall, Beaumont. The History of Photography. New York: The Museum of Modern Art, 2006.Google Scholar
Newhall, Nancy. P. H. Emerson: The Fight for Photography as a Fine Art. New York: Aperture, 1975.Google Scholar
Novak, Daniel A. Realism, Photography, and Nineteenth-Century Fiction. Cambridge: Cambridge University Press, 2008.Google Scholar
Noverre, Jean-Georges. Letters on Dancing and Ballet. Trans. Beaumont, Cyril W.. New York: Dance Horizons, 1968.Google Scholar
Nuitter, Charles, and Saint-Léon, A.. Coppélia: Grand Ballet in Three Acts. New York: Charles D. Koppel, 1886.Google Scholar
Oldcastle, John [Meynell, Wilfred]. Journals and Journalism: With a Guide for Literary Beginners. 2nd ed. London: Field & Tuer, 1880.Google Scholar
Ordinneau, M. Maurice. La poupée: Opéra comique en Quatre Actes. Paris: Librarie Theatrale, Artistique et Littéraire, 1896.Google Scholar
Otis, Laura. Networking: Communicating with Bodies and Machines in the Nineteenth Century. Ann Arbor: University of Michigan Press, 2001.Google Scholar
Owens, Craig. “Politics of Coppélia.” In Beyond Recognition, ed. Bryson, Scott, Kruger, Barbara, Tillmann, Lynne, and Weinstock, Jane, 239–42. Berkeley: University of California Press, 1992.Google Scholar
Palermo, Charles. “Automatism.” Critical Inquiry 41, no. 1 (2014): 167–77.Google Scholar
Park, Julie. The Self and It: Novel Objects in Eighteenth-Century England. Palo Alto, CA: Stanford University Press, 2010.Google Scholar
Pearson, Keith Ansell. Germinal Life: The Difference and Repetition of Deleuze. New York: Routledge, 1999.Google Scholar
Pettitt, Clare. Patent Inventions – Intellectual Property and the Victorian Novel. Oxford: Oxford University Press, 2004.CrossRefGoogle Scholar
Poovey, Mary. Genres of Credit Economy. Chicago: University of Chicago, 2008.Google Scholar
Price, Martin. “The Picturesque Moment.” In From Sensibility to Romanticism: Essays Presented to Frederick A. Pottle, ed. Hilles, Frederick W. and Bloom, Harold, 259–92. Oxford: Oxford University Press, 1965.Google Scholar
Price, Uvedale. Essays on the Picturesque, as Compared with the Sublime and the Beautiful, etc. 3 vols. London: J. Mawman, 1810.Google Scholar
Prodger, Phillip. “Photography and The Expression of the Emotions.” In The Expression of the Emotions in Man and Animals, 3rd ed., by Darwin, Charles, 399410. Oxford: Oxford University Press, 1998.Google Scholar
Quintilian, . The Institutio Oratoria. Trans. Butler, H. E.. 4 vols. Cambridge, MA: Harvard University Press, 1936.Google Scholar
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. Berkeley: University of California Press, 1992.Google Scholar
Radcliffe, Ann. Journey Made in the Summer of 1794, through Holland and the Western Frontier of Germany, etc. London: G. G. and J. Robinson, 1795.Google Scholar
Reill, Peter Hanns. Vitalizing Nature in the Enlightenment. Berkeley: University of California Press, 2005.Google Scholar
Reilly, Kara. Automata and Mimesis on the Stage of Theatre History. New York: Palgrave Macmillan, 2011.Google Scholar
Reynolds, Nancy, and McCormick, Malcolm, eds. Dance in the Twentieth Century: No Fixed Points. New Haven, CT: Yale University Press, 2003.Google Scholar
Ribot, Theodüle. Diseases of Memory: An Essay in the Positive Psychology. Trans. Smith, William Huntington. New York: D. Appleton, 1896.Google Scholar
Richardson, Alan. “Facial Expression: From Romanticism to the Present.” In Introduction to Cognitive Cultural Studies, ed. Zunshine, Lisa, 6583. Baltimore: The Johns Hopkins University Press, 2010.Google Scholar
Richardson, Alan. The Neural Sublime: Cognitive Theories and Romantic Texts. Baltimore: The Johns Hopkins University Press, 2010.Google Scholar
Rifkin, Adrian. “History, Time and the Morphology of Critical Language, or Publicola's Choice.” In Art Criticism and Its Institutions in Nineteenth-Century France, ed. Orwicz, Michael R., 2942. Manchester: Manchester University Press, 1994.Google Scholar
Robbins, Bruce. Secular Vocations: Intellectuals, Professionalism, Culture. London: Verso, 1993.Google Scholar
Robinson, Daniel N.Preface.” In The Emotions and the Will, by Bain, Alexander, xxixxxviii. Washington, DC: University Publications of America, 1977.Google Scholar
Robinson, Henry Peach. The Elements of a Pictorial Photograph. London: Memorial Hall, Ludgate Circus, 1896.Google Scholar
Robinson, Henry Peach. Letters on Landscape Photography. New York: Arno Press, 1973. First published 1888.Google Scholar
Robinson, Henry Peach. Pictorial Effect in Photography: Being Hints on Composition and Chiaroscuro for Photographers, etc. Pawlett, VT: Helios, 1971. First published 1869.Google Scholar
Robinson, Sidney K. Inquiry into the Picturesque. Chicago: University of Chicago Press, 1991.Google Scholar
Root, Marcus Aurelius. The Camera and the Pencil. Pawlet, VT: Helios, 1971. First published 1864.Google Scholar
Rosemont, Franklin. “André Breton and the First Principles of Surrealism.” In What Is Surrealism? Selected Writings, 1139. New York: Monad Press, 1978.Google Scholar
Riskin, Jessica. “The Defecating Duck, or, the Ambiguous Origins of Artificial Life.” Critical Inquiry 29 (2003): 599633.Google Scholar
Riskin, Jessica. The Restless Clock: A History of the Centuries-Long Argument over What Makes Living Things Tick. Chicago: University of Chicago Press, 2016.Google Scholar
Ruskin, John. The Library Edition of the Works of John Ruskin. Ed. Cook, E. T. and Wedderburn, Alexander. 39 vols. London: George Allen, 1903–12.Google Scholar
Ruth, Jennifer. Novel Professions: Interested Disinterest and the Making of the Professional in the Victorian Novel. Columbus: Ohio State University Press, 2001.Google Scholar
Rylance, Rick. Victorian Psychology and British Culture 1850–1880. Oxford: Oxford University Press, 2000.Google Scholar
Salmon, Richard. The Formation of the Victorian Literary Profession. Cambridge: Cambridge University Press, 2013.Google Scholar
Salt, H. S. The Life of James Thomson (“B. V.”). London: Reeves and Dobell, 1889.Google Scholar
Samuel, Raphael. Theatres of Memory. 2 vols. London: Verso, 1994–98.Google Scholar
Sargent, Epes. Planchette, or The Despair of Science: Being a Full Account of Modern Spiritualism, etc. Boston: Roberts Brothers, 1887.Google Scholar
Schaaf, Larry J. Out of the Shadows: Herschel, Talbot, & the Invention of Photography. New Haven, CT: Yale University Press, 1992.Google Scholar
Schaefer, William David. James Thomson (“B. V.”): Beyond “The City.” Berkeley: University of California Press, 1965.Google Scholar
Scholl, Tim. “Fokine's Petrouchka.” In Petrushka: Sources and Contexts, 4150. Evanston, IL: Northwestern University Press, 1998.Google Scholar
Schwartz, Heinrich. Art and Photography: Forerunners and Influences: Selected Essays. Ed. Parker, William E.. Layton, UT: G. M. Smith Books/Visual Studies Workshop, 1985.Google Scholar
Sekula, Allan. “The Body and the Archive.” October 39 (1986): 364.Google Scholar
Seiberling, Grace, and Bloore, Carolyn. Amateurs, Photography, and the Mid-Victorian Imagination. Chicago: University of Chicago Press, 1986.Google Scholar
Silverman, Kaja. The Miracle of Analogy, or The History of Photography, Part 1. Stanford, CA: Stanford University Press, 2015.Google Scholar
Siskin, Clifford. The Work of Writing: Literature and Social Change in Britain, 1700–1830. Baltimore: The Johns Hopkins University Press, 1998.Google Scholar
Smith, Graham. Sun Pictures in Scotland. Ann Arbor: The University of Michigan Museum of Art, 1989.Google Scholar
Smith, Lindsay. Victorian Photography, Painting and Poetry. Cambridge: Cambridge University Press, 1995.Google Scholar
Smith, Roger. “The Background of Physiological Psychology in Natural Philosophy.” History of Science 11 (1973): 75123.Google Scholar
Snyder, Laura J. Reforming Philosophy: A Victorian Debate on Science and Society. Chicago: University of Chicago Press, 2006.Google Scholar
Sobieszek, Robert. “Introduction.” In Pictorial Effect in Photography, ed. Robinson, Henry Peach, vviii. Pawlet, VT: Helios, 1971.Google Scholar
Sorabji, Richard, ed. Aristotle on Memory. Providence, RI: Brown University Press, 1972.Google Scholar
Soriano, André. The Mechanical Dolls of Monte Carlo. New York: Rizzoli, 1985.Google Scholar
Stephen, Leslie. “In Praise of Walking.” Monthly Review 4 (1901): 98116.Google Scholar
Stephenson, Tom. Forbidden Land: The Struggle for Access to Mountain and Moorland. Manchester, UK: Manchester University Press, 1989.Google Scholar
Stroebel, Leslie, and Zakia, Richard, eds. The Focal Encyclopedia. 3rd ed. Boston: Focal Press, 1993.Google Scholar
Sutton, John. Philosophy and Memory Traces: Descartes to Connectionism. Cambridge: Cambridge University Press, 1998.Google Scholar
Syrett, Netta. The Fairy Doll. In The Fairy Doll and Other Plays for Children, 320. New York: Dodd, Mead, 1922.Google Scholar
Szarkowski, John. “Introduction.” In The Photographer's Eye, 611. New York: The Museum of Modern Art, 1966.Google Scholar
Tafel, R. L. Emanuel Swedenborg. Vol. II. Part 1. London: Swedenborg Society, British and Foreign, 1877.Google Scholar
Talbot, William Henry Fox. The Pencil of Nature. New York: Da Capo Press, 1969. First published 1844.Google Scholar
Talbot, William Henry Fox. Henry Fox Talbot: Selected Texts and Bibliography. Ed. Weaver, Mike. Boston: G. K. Hall, 1993.Google Scholar
Taylor, Harvey. A Claim on the Countryside: A History of the British Outdoor Movement. Edinburgh: Keele University Press, 1997.Google Scholar
Taylor, Jenny Bourne. “Obscure Recesses: Locating the Victorian Unconscious.” In Writing and Victorianism, ed. Bullen, J. B., 137–79. London: Longman, 1997.Google Scholar
Thomas, Edward. Richard Jefferies: His Life and Work. London: Hutchinson, 1909.Google Scholar
Thomson, James. “A Strange Book.” In Biographical and Critical Studies, 298371. London: Reeves and Turner and Bertram Dobell, 1896.Google Scholar
Tomkins, Silvan. Affect, Imagery, Consciousness. 2 vols. New York: Springer, 1962.Google Scholar
Tomkins, Silvan. Shame and Its Sisters: A Silvan Tomkins Reader. Ed. Sedgwick, Eve Kosofsky and Frank, Adam. Durham, NC: Duke University Press, 1995.Google Scholar
Trachtenberg, Alan, ed. Classic Essays on Photography. New Haven, CT: Leete's Island Books, 1980.Google Scholar
Trilling, Lionel. Sincerity and Authenticity. Cambridge, MA: Harvard University Press, 1972.Google Scholar
Tucker, Jennifer. Nature Exposed: Photography as Eyewitness in Victorian Science. Baltimore: The Johns Hopkins University Press, 2005.Google Scholar
Tulving, Endel, and Craik, Fergus I. M., eds. The Oxford Handbook of Memory. Oxford: Oxford University Press, 2000.Google Scholar
Tyndall, John. “The Electric Light.” In Fragments of Science: A Series of Detached Essays, Addresses, and Reviews, 2:419–52. New York: D. Appleton, 1879.Google Scholar
Underwood, Sara A. Automatic of Spirit Writing, with Other Psychic Experiences. Chicago: Thomas G. Newman, 1896.Google Scholar
Urry, John. The Tourist Gaze: Leisure and Travel in Contemporary Societies. London: Sage, 1990.Google Scholar
Varela, Francisco J., Thompson, Evan, and Rosch, Eleanor. The Embodied Mind: Cognitive Science and Human Experience. Cambridge, MA: The MIT Press, 2016. First published 1991.Google Scholar
Vartanian, Aram. La Mettrie's “l'Homme Machine”: A Study in the Origins of an Idea. Princeton, NJ: Princeton University Press, 1960.Google Scholar
Vaucanson, J., De. An Account of the Mechanism of Animation of an Automaton. Trans. Desaguliers, J. T.. The Netherlands: Frits Knuf-Buren, 1979. First published 1742.Google Scholar
Veblen, Thorstein. The Instinct of Workmanship and the State of the Industrial Arts. New York: Viking Press, 1937.Google Scholar
Voskuhl, Adelheid. Androids in the Enlightenment: Mechanics, Artisans, and Cultures of the Self. Chicago: University of Chicago Press, 2013.Google Scholar
Wachtel, Andrew, ed. Petrushka: Sources and Contexts. Evanston, IL: Northwestern University Press, 1998.Google Scholar
Wallace, Anne P. Walking, Literature, and English Culture: The Origins and Uses of Peripatetic in the Nineteenth Century. Oxford: Oxford University Press, 1993.Google Scholar
Weiskrantz, L.The Story of Memory, and the Memory of Story.” In The Oxford Handbook of Memory, ed. Tulving, Endel and Craik, Fergus I. M., 645–48. Oxford: Oxford University Press, 2000.Google Scholar
West, Thomas. A Guide to the Lakes in Cumberland, Westmorland, and Lancashire. London: Richardson, 1780.Google Scholar
Weston, Edward. “Seeing Photographically.” The Complete Photograph 9 (1943): 32003206.Google Scholar
Whitehead, Alfred North. Process and Reality: An Essay in Cosmology. Ed. Griffin, D. R. and Sherburne, D. W.. New York: Free Press, 1978.Google Scholar
Wilkinson, James John Garth. Improvisations from the Spirit. London: Swedenborgian Society, [1857].Google Scholar
Wilkinson, Joseph. Select Views. London: R. Ackermann, 1810.Google Scholar
Williams, Raymond. The Country and the City. Oxford: Oxford University Press, 1973.Google Scholar
Winter, Alison. Mesmerized: Powers of Mind in Victorian Britain. Chicago: University of Chicago Press, 1998.Google Scholar
Wise, M. Norton. “The Gender of Automata in Victorian Britain.” In Genesis Redux: Essays in the History and Philosophy of Artificial Life, ed. Riskin, Jessica, 163–95. Chicago: University of Chicago Press, 2007.Google Scholar
Wood, Gaby. Living Dolls: A Magical History of the Quest for Mechanical Life. London: Faber and Faber, 2002.Google Scholar
Wosk, Julie. My Fair Ladies: Female Robots, Androids, and Other Artificial Eves. New Brunswick, NJ: Rutgers University Press, 2015.Google Scholar
Yates, Frances Amelia. The Art of Memory. Chicago: University of Chicago Press, 1966.Google Scholar
Zunshine, Lisa, ed. Introduction to Cognitive Cultural Studies. Baltimore: The Johns Hopkins University Press, 2010.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Linda M. Austin, Oklahoma State University
  • Book: Automatism and Creative Acts in the Age of New Psychology
  • Online publication: 30 May 2018
  • Chapter DOI: https://doi.org/10.1017/9781108552974.008
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Linda M. Austin, Oklahoma State University
  • Book: Automatism and Creative Acts in the Age of New Psychology
  • Online publication: 30 May 2018
  • Chapter DOI: https://doi.org/10.1017/9781108552974.008
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Linda M. Austin, Oklahoma State University
  • Book: Automatism and Creative Acts in the Age of New Psychology
  • Online publication: 30 May 2018
  • Chapter DOI: https://doi.org/10.1017/9781108552974.008
Available formats
×