By Alison Byerly

Are We There but? digital go back and forth and Victorian Realism connects the Victorian fascination with ''virtual travel'' with the increase of realism in nineteenth-century fiction and twenty-first-century experiments in digital fact. at the same time the growth of river and railway networks within the 19th century made trip more uncomplicated than ever sooner than, staying at domestic and fantasizing approximately go back and forth became a favourite hobby. New methods of representing place—360-degree panoramas, foldout river maps, exhaustive railway guides—offered themselves as substitutes for real go back and forth. taking into consideration those representations as a kind of ''virtual travel'' unearths a stunning continuity among the Victorian fascination with imaginitive dislocation and twenty-first -century efforts to exploit electronic know-how to extend the actual obstacles of the self.

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Los Angeles as seen from the Bonaventura, like the panorama of London as seen from the upper gallery of the Colosseum, becomes a representation of itself. Homi Bhabha describes Jameson’s anecdote as “the mise-­en-­scène of the subject’s relation to an unrepresentable social totality,” an image of the “postmodern panopticon” in which “you lose your bearings entirely” (1984, 217), but this form of disorientation and displacement does not seem distinctively postmodern compared with the Victorian experience.

The experience of surveying an entire city, in all directions, however, was well suited to circular representation, and created a parallel between the immersive experience of the panorama and the actual experience of being in the city itself. ” Although panoramas provided access to exotic or unknown locations, paradoxically, one of the most popular panoramas ever shown in London was a panorama of the city itself. This panorama, which opened at the Colosseum in 1829, though it was not fully completed until 1832, resulted from the unique opportunity presented by renovations to the spire of St.

The collection of materials assembled in volume 5 of the complete works of Walter Benjamin under the title Das Passagen-­Werk, first published in 1982 and translated in 1999 as The Arcades Project, explores, through a montage of quotations interspersed with brief commentaries by 32 Are We There Yet? Benjamin, the shopping arcades (passages) of Paris as archetypes of the “primal history” (Urgeschichte) of the nineteenth century. 2 Just as the Parisian passage organizes the flow of commerce into “‘miniature worlds’” (“Exposé of 1935,” Arcades, 3) that compel and direct the attention of consumers, so the panorama presents a synthesis and condensation of an entire landscape that allows the viewer to comprehend and consume it.

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