The Subtext of Form in the English Renaissance: Proportion PoeticalPennsylvania State University Press, 1994 - 214 страници During the sixteenth century in England the logocentrism of the Middle Ages was confronted by a materialism that heralded the modern world. With remarkable tenacity in music, poetry, and painting, the orthodox aesthetic persisted as formal features which served as nonverbal signs and provided a subtext of form. In opposition, however, a radical aesthetic emerged to accommodate the new attention to physical nature. The growing force of materialism occasioned a fundamental rethinking of what an artifact might represent and how that representation might be achieved. This book explores the ontological and epistemological issues that poststructuralist thought raises about that shift in our cultural history. In doing so, it charts a course for Renaissance studies, now in disarray, that avoids the old positivism while not succumbing to the new nihilism. |
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... ichnographic , which reveals the basic inner - form seen from above , a privileged vantage point unavailable to earthbound mortals , per- haps sub specie aeternitatis ; ( 2 ) the orthographic , which expands the ichno- graphic version ...
... ichnographic , ( b ) the orthographic , and ( c ) the scaenographic . Vitruvius , [ De architectura libri decem ] , ed . Fra Giovanni Giocondo ( Venice , 1511 ) , fols . 4-4v realm of time and space , and to yet another. IT LITT.
... ichnographic débat expand into the third dimension with increased palpability . As E. K. notes in the argument , " The olde man telleth a tale of the Oake and the Bryer , so lively and so feelingly , as if the thing were set forth in ...
Съдържание
The Subtext of Form | 33 |
Form as Optimism | 69 |
The Discourse About Otherness | 119 |
Авторско право | |
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