Visuality has become a keyword for the field of visual culture. However, while many assume that it is a postmodern theoretical term, the word was coined by the Scottish historian Thomas Carlyle in his lectures On Heroes (1841). The centrality of Carlyle’s discourse of visualized heroism to Anglophone imperial culture was such that any claim to subjectivity had to pass by visuality. Here lies the contradictory source of the resonance of ‘visuality’ as a keyword for visual culture as both a mode of representing imperial culture and a means of resisting it by means of reverse appropriation. Reading Carlyle in the imperial context leads to a distinction between Visuality 1, which is proper to modernity, and a Visuality 2 that exceeds or precedes the commodification of vision. This tension was played out in the work of Carlyle’s admirers Oscar Wilde and W.E.B. Du Bois and in the politics surrounding the abolition of slavery.

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