These textsĭepict a variety of sleep states associated with Italian museum spaces and draw onĬontemporary psychological accounts of mesmeric trance and dreaming. (1855-7) and Nathaniel Hawthorne’s The Marble Faun (1860). It begins with a discussion of Charles Dickens’s Little Dorrit Mid nineteenth-century Victorian fiction through the idea of the museum as a ‘dream
This essay explores the relationship between aesthetics and psychology in (2011) “The Museum as 'Dream Space': Psychology and Aesthetic Response in George Eliot’s Middlemarch”,ġ9: Interdisciplinary Studies in the Long Nineteenth Century 12. Keywords: optical, trance, nightmare, visuality, dream space, The Marble Faun, Little Dorrit, double consciousness, unconscious, cognitive, will, dream, museum, Middlemarch, affective, aesthetics, mesmerism, Charles Dickens, George Eliot, psychology In Middlemarch the creative potential of the unconscious mind is explored through the idea of the museum as a dream space. Eliot’s depiction of Dorothea’s responses to the museum of Rome engages with theories of consciousness and debates about the nature of spontaneous, individual will. Middlemarch, in particular, draws on contemporary psychological accounts of such phenomena developed by John Addington Symonds, Enaeas Sweetland Dallas and Frances Power Cobbe. Such fictional depictions extend Sheldon Annis’s notion of the museum as ‘dream space’, taking account of a variety of sleep states associated with the museum that include mesmeric trance and double consciousness. Pregnant moments of female subjectivity take place in museum spaces characterised by their oneiric qualities. It begins with a discussion of Charles Dickens’s Amy Dorrit and Hilda in Nathaniel Hawthorne’s The Marble Faun, two women who, like Dorothea Brooke, dream their way around Italian museums and the fragment-rich spaces of Rome. This essay explores the relationship between aesthetics and psychology through the idea of the museum as a ‘dream space’ in George Eliot’s Middlemarch.
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