The Subtext of Form in the English Renaissance: Proportion PoeticalPennsylvania State University Press, 1994 - 214 páginas 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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... becomes avail- able , the resultant hypotheses about history can be reviewed and updated.3 There is no complete picture that we can reconstruct , piece by piece — a preexistent paradigm to be fulfilled . But neither should we acquiesce ...
... becomes a word - picture relying upon accurate description , such as Thomson's Seasons ; and in contrast to the logocentric lyric , the meter and rhyme are applied merely as decoration after the subject matter is laid out . The metrics ...
... becomes the relationship between 4 and 3 , actually the operative mathematical relationship in this particular verse form and the prototype for proportionality . The prominence of the ratio 13 In the sixteenth century the most detailed ...
Índice
The Subtext of Form | 33 |
Form as Optimism | 69 |
The Discourse About Otherness | 119 |
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The Subtext of Form in the English Renaissance: Proportion Poetical S. K. Heninger Pré-visualização limitada - 1994 |
The Subtext of Form in the English Renaissance: Proportion Poetical S. K. Heninger Pré-visualização indisponível - 1994 |