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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... matter . This is what Plato meant by the word idea . His term idea translates to our word " form , " which similarly ... Matter , howbeit , subsisting in the thoughts and imaginations of God , that is to say , of Minde and Understanding ...
... matter is what is ultimately real . We have elaborate theories about atoms and molecules and quarks that serve as the basis for our knowledge and the grounds for making practical decisions . We live in a materialist culture : reality ...
... matter . In wan echo of the logocentric aesthetic , Gascoigne wrote : “ Ballades are beste of matters of love , and rondlettes moste apt for the beating or handlyng of an adage or common proverbe : Sonets serve aswell in matters of love ...
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 |