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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Proportion Poetical S. K. Heninger. 3 The Origin of the Sonnet Form as Optimism I would exhorte you also to beware of rime without reason . -George Gascoigne1 he fourteen - line sonnet - or , more properly , the qua- torzain2 - was ...
... sonnet by Giacomo da Lentini at the imperial court was perhaps the single most important event in the history of ... Sonnet ( New York : Oxford University Press , 1989 ) , 13–25 . 7. See Ernest Hatch Wilkins , “ The Invention of the ...
... sonnet there are fourteen lines of hendecasyllabic verse . In both versions printed here the volta at line 9 is clearly evident , sig- naled by the word Ma ( but ) and dividing the text into an octave and a sestet.1o The eight lines of ...
Índice
The Subtext of Form | 33 |
Form as Optimism | 69 |
The Discourse About Otherness | 119 |
Direitos de autor | |
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The Subtext of Form in the English Renaissance: Proportion Poetical S. K. Heninger Pré-visualização limitada - 1994 |
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