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This study of the recruitment techniques used by the philosophical schools of Hellenistic Greece. Bernard Frischer focusses on the Epicureans, who are of special interest because their approach was at once extremely passive and extremely successful. Unlike other philosophical schools, which depended primarioly on public lectures and books, the Epicureans avoided contract with the dominant culture and attracted members by erecting statues of Epicurus and their other master in public places. These iconologically rich, "sculpted words" appealed to teh very people most likely to be attracted to Epicureanism, those most likely to accept the philosophy of materialism, sensationalism, and the repression of feeling, and those who sought a way of life sperate from teh dominant culture. This book is an innovative application of an inter-disciplinary humanistic an social-scientific approach to ancient Greek philosophy and art. It will appeal to those interested in the history of these subjects and those interested in the sociology of knowledge and communication. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1982.
The Sculpted Word not only provides the fullest treatment yet of Keats's use of ekphrasis - a trope by which writer translate visual compositions into words - but also places the poems within their literary, cultural, and historical contexts. Grant F. Scott observes that in Keats we often feel that we are wandering through a museum with a particularly eloquent and subtle guide. On one level, the guide's efforts to capture such visual images as engraved gems, landscape paintings, marbles, and urns represent an attempt to defeat the dominion of the image by writing it into language. On a deeper level, Scott suggests, ekphrasis presents Keats with psychological issues that have less to do with aesthetics than anxieties over such issues as cultural heritage, poetic tradition, and gender identity. Everywhere in ekphrasis studies, he argues, we encounter the language of subterfuge, of conspiracy; there is something taboo about moving across media, even as there is something profoundly liberating.
This study of the recruitment techniques used by the philosophical schools of Hellenistic Greece. Bernard Frischer focusses on the Epicureans, who are of special interest because their approach was at once extremely passive and extremely successful. Unlike other philosophical schools, which depended primarioly on public lectures and books, the Epicureans avoided contract with the dominant culture and attracted members by erecting statues of Epicurus and their other master in public places. These iconologically rich, "sculpted words" appealed to teh very people most likely to be attracted to Epicureanism, those most likely to accept the philosophy of materialism, sensationalism, and the repression of feeling, and those who sought a way of life sperate from teh dominant culture. This book is an innovative application of an inter-disciplinary humanistic an social-scientific approach to ancient Greek philosophy and art. It will appeal to those interested in the history of these subjects and those interested in the sociology of knowledge and communication. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1982.
The subject of In the Frame is poetic ekphrasis: poems whose starting point or source of inspiration is a work of visual art. The authors of these sixteen essays, several of whom are poets as well as critics, have a twofold purpose: calling attention to the contribution women poets have made to this important genre of poetic writing and re-thinking ekphrastic poetry's motives and purposes. From Marianne Moore and Elizabeth Bishop to Mary Jo Salter, C. D. Wright, and Susan Wheeler, many of our best women poets have done important work in this genre, and when they describe, confront, or speak for an image that is itself wordless, their motives are not only formal but aesthetic. Their poems also raise important questions, from a perspective that is often, but not always, gender-inflected about how art is made and displayed, experienced and valued, celebrated and commodified. Jane Hedley is K. Laurence Stapleton Professor of English at Bryn Mawr College. Willard Spiegelman is the Hughes Professor of English at Southern Methodist University, and editor-in-chief of the Southwest Review. Nick Halpem is an associate professor in the English Department at North Carolina State University.
This book comprehensively examines the relationship between literature and sculpture in the work of W. B. Yeats, drawing on extensive archival research to offer revelatory new readings of the poet. The book traces Yeats's literary and critical engagement with Celtic Revival statuary, public monuments in Dublin, the coin designs of the Irish Free State, abstract sculpture by the Vorticists and modernists, and a variety of carvings, decorative sculptures, and objets d'art. By charting Yeats's early art school education in Dublin, his attempts to raise funds for public monuments in the city, and to secure commissions for his favourite sculptors, the book documents a lifelong interest in the plastic arts. New and original readings of Yeats's poetry, drama, and prose criticism emerge from this concertedly inter-arts and interdisciplinary study.
"A powerful, erudite, and engaging book."--Virginia Quarterly Review.
Ekphrasis is the art of describing works of art, the verbal representation of visual representation. Profoundly ambivalent, ekphrastic poetry celebrates the power of the silent image even as it tries to circumscribe that power with the authority of the word. Over the ages its practitioners have created a museum of words about real and imaginary paintings and sculptures. In the first book ever to explore this museum, James Heffernan argues that ekphrasis stages a battle for mastery between the image and the word. Moving from the epics of Homer, Virgil, and Dante to contemporary American poetry, this book treats the history of struggle between rival systems of representation. Readable and well illustrated, this study of how poets have represented painting and sculpture is a major contribution to our understanding of the relation between the arts.
This book explores the relationship between ancient Greek sculpture and modern Greek poetry between 1860 and 1960. It examines in some detail poems by Vasileiadis, Rangavis, Palamas, Cavafy, Sikelianos and Seferis, and shows how these poets appropriate the art of sculpture and in what ways this contributes to our understanding of each poet's poetics. Ancient Greek sculpture and sculptural imagery related to it are inevitably associated with the Classical heritage and bring the issue of ancient tradition and its relation to the modern artist into a prominent position. What is more, sculpture is particularly important for the erotic dimension through which the poets perceive their relation with art, and each poet systematically uses the image of the sculptor to define his perception of the artist. In both cases the myth of Pygmalion may be seen as successfully embodying each poet's relation with art and tradition.
The keynote lectures in this collection are those by Dame Gillian Beer on Darwin and Romanticism, Richard Cronin on Wordsworth and the Periodical Press, Paul H. Fry on Wordsworth, Coleridge and the topos of Labour, Claire Lamont on the Romantic Cottage, and Nicholas Roe on Keats and the Elgin marbles (with five illustrations). In the conference papers, Jamie Baxendine writes on Intimations, James Castell on Peter Bell, Lexi Drayton on the Gypsy figure in Tintern Abbey and associated poems and painting, Mark Sandy on 'the circulation of grief', Chris Simons on Wordsworth and his patrons, Emily Stanback on medical taxonomy, Heidi Thomson on Sara Coleridge's editing of Biographia Literaria, and Saeko Yoshikawa on Sara Hutchinson (the younger)'s Journals of 1850.
This substantial and ambitious dictionary explores the languages and cultures of visual studies. It provides the basis for understanding the foundations and motivations of current theoretical and academic discourse, as well as the different forms of visual culture that have come to organize everyday life. The book is firmly placed in the context of the 'visual turn' in contemporary thought. It has been designed as an interdisciplinary or transdisciplinary introduction to the vocabularies and grammars of visuality that inform thinking in the arts and humanities today. It also offers insight into the philosophical frameworks which underpin the field of visual culture. A central theme that runs throughout the entries is the task of moving away from a narrow understanding of visuality inherited from traditional philosophy toward a richer cultural and multi-sensorial philosophy of concrete experience. The dictionary incorporates intertextual links that encourage readers to explore connections between major themes, theories and key figures in the field. In addition the author's introduction provides a comprehensive and critical introduction which documents the significance of the visual turn in contemporary theory and culture. It is accompanied by an extensive bibliography and further reading list. As both a substantive academic contribution to this growing field and a useful reference tool, this book offers a theoretical introduction to the many languages of visual discourse. It will be essential reading for graduate students and scholars in visual studies, the sociology of visual culture, cultural and media studies, philosophy, art history and theory, design, film and communication studies.