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The Visual Arts, Pictorialism, and the Novel by Marianna Torgovnick Pdf
Marianna Torgovnick maintains that it is worthwhile to think about novels in terms of the visual arts--in part because major novelists like James, Lawrence, and Woolf did so, and did so fruitfully, as they were influenced by their perceptions of artistic movements. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Visual Arts, Pictorialism and the Novel by Alfred Fisher Pdf
What do we "see" when we read a novel? How do writers make us see it? writer maintains that it's worthwhile to think about novels in terms of the visual arts in part because so many important writers did. With special attention to novels by Virginia Woolf, D.H. Lawrence, and Henry James, as well as to illustrated novels, this book uncovers how novels use the visual arts to generate meanings in some of the same ways that films do. It's a classic interdisciplinary study of how novels think in terms of pictures and make readers think that way too.
Reader's Guide to Literature in English by Mark Hawkins-Dady Pdf
Reader's Guide Literature in English provides expert guidance to, and critical analysis of, the vast number of books available within the subject of English literature, from Anglo-Saxon times to the current American, British and Commonwealth scene. It is designed to help students, teachers and librarians choose the most appropriate books for research and study.
This comparative, interdisciplinary study investigates the relationship between literature and the visual arts in France and Britain from 1750-1900. Through a close examination of the prose writings of Diderot, Baudelaire and Ruskin, read against the background of contemporary philosophy, aesthetics and theories of language, In the Mind’s Eye proposes a new interpretation of the influence and rivalries underlying the development of art criticism as a genre during this period. The visual impulse – the desire to transcend the limitations of language and make the reader see – is located within the historical traditions of ekphrasis, enargeia and the paragone, while in each chapter, the individual author’s theories of the mind, memory and imagination provide a critical framework for his stylistic experiments. In the Mind’s Eye presents an in-depth analysis of the cultural, theoretical and aesthetic implications of artistic border crossings, and by contextualizing the movement toward visual/verbal hybridity in the fiction and criticism of Diderot, Baudelaire and Ruskin, brings new perspectives to nineteenth-century studies in art and literature.
Author : Douglas Robillard Publisher : Kent State University Press Page : 244 pages File Size : 40,6 Mb Release : 1997 Category : Art ISBN : 0873385756
Melville and the Visual Arts by Douglas Robillard Pdf
Melville's allusions to works of art embellish his poems and novels. In this study, his use of the art analogy as a literary technique is traced, along with the influence of his predecessors and comtemporaries and how his sense of form was instructed by design in works of art.
The Vital Art of D.H. Lawrence by Jack Stewart Pdf
D. H. Lawrence, asserts Jack Stewart, expresses a painter's vision in words, supplementing visual images with verbal rhythms. With the help of twenty-three illustrations, Stewart shows how Lawrence's style relates to impressionism, expressionism, primitivism, and futurism. Stewart examines Lawrence's painterly vision in The White Peacock, Sons and Lovers, The Rainbow, Women in Love, Kangaroo, and The Plumed Serpent. Stewart's final three chapters deal with the influence exerted on Lawrence's fiction by the work of Van Gogh, Cezanne, Gauguin, and the Japanese artists Hokusai and Hiroshige. He concludes by synthesizing the themes that pervade this interarts study: vision and expression, art and ontology.
Writing and Filming the Painting by Laura M. Sager Eidt Pdf
This innovative interdisciplinary study compares the uses of painting in literary texts and films. In developing a framework of four types of ekphrasis, the author argues for the expansion of the concept of ekphrasis by demonstrating its applicability as interpretive tool to films about the visual arts and artists. Analyzing selected works of art by Goya, Rembrandt, and Vermeer and their ekphrastic treatment in various texts and films, this book examines how the medium of ekphrasis affects the representation of the visual arts in order to show what the differences imply about issues such as gender roles and the function of art for the construction of a personal or social identity. Because of its highly cross-disciplinary nature, this book is of interest not only to scholars of literature and aesthetics, but also for scholars of film studies. By providing an innovative approach to discussing non-documentary films about artists, the author shows that ekphrasis is a useful tool for exploring both aesthetic concerns and ideological issues in film. This study also addresses art historians as it deals with the reception of major artists in European literature and film throughout the 20th century.
Painting the Novel: Pictorial Discourse in Eighteenth-Century English Fiction focuses on the interrelationship between eighteenth-century theories of the novel and the art of painting – a subject which has not yet been undertaken in a book-length study. This volume argues that throughout the century novelists from Daniel Defoe to Ann Radcliffe referred to the visual arts, recalling specific names or artworks, but also artistic styles and conventions, in an attempt to define the generic constitution of their fictions. In this, the novelists took part in the discussion of the sister arts, not only by pointing to the affinities between them but also, more importantly, by recognising their potential to inform one another; in other words, they expressed a conviction that the theory of a new genre can be successfully rendered through meta-pictorial analogies. By tracing the uses of painting in eighteenth-century novelistic discourse, this book sheds new light on the history of the so-called "rise of the novel".
One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century—from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements.
Finding the Figure in the Carpet by Lee McKay Johnson Pdf
In his 1896 short story, The Figure in the Carpet, James sets forth a riddle for his critical readers as he approaches the major phase in his career. He imagines a fictional novelist, Hugh Vereker, who tantalizes his critics with the idea of a single thread, a design woven throughout all of his major works, hidden in plain sight. The design, Vereker says, is as obvious as a foot stuck in a shoe but the distinguished novelist is convinced no one will ever see it. One critic, Corvick, however, during a trip to India, has an astonishing flash of revelation: he sees the figure and the discovery is immense. When Corvick returns and shares his epiphany with Vereker, the novelist assures him that his discovery is precisely accurate; there is not a single, wrong note. But Corvick dies in a road accident before he can write his definitive book on Verekers secret design. My study will show the reader that there is a distinct figure in the carpet in the works of Henry James himself. But James only uses the figure in a select group of his major novels and tales, all six of which we will examine here. These major works are all experimental and radical and show James allowing himself the artistic freedom to follow his own arcane and personal path. The pattern is fully manifested in The Turn of the Screw in 1897 and remains the consistent thread all the way through the Masters final completed novel, The Golden Bowl, in 1904. I began writing about the relation of writing to painting and how James translates structural aspects of the silent art of painting into prose. James borrows both silence and simultaneity from the painter, his brother of the brush, and experiments with their narrative equivalents. I saw with increasing clarity that James admiration of the powers of painting led him into depicting nonverbal aspects of consciousness in language. Finally I saw the whole system lock into place; everything fit. The figure in the carpet was revealed as visible silence. With only a minute adjustment of focus I suddenly saw that James narrative pictorial structure that I had been tracing all these years constitutes the figure in the carpet itself. The pictorial pattern literally governs every line, and chooses every word.. James brings the reader into the full consciousness of his character by taking us into the silent radiation of the visible. As readers we experience the silence before language, the silence between words, and the silence after language. In this book I will show my reader how the figure in the carpet operates as the controlling design in every square inch of text in each of James most famous novels and tales.
D.H. Lawrence and Italian Futurism by Andrew Harrison Pdf
The significance of D. H. Lawrence’s reading of two Italian Futurist volumes in the summer of 1914 is widely acknowledged, but the nature of its significance has not been more closely examined, nor traced through his major fictional and discursive writings of the Great War and its aftermath. D. H. Lawrence and Italian Futurism addresses the oversight, firstly by examining the context to Lawrence’s now famous June 1914 letters concerning Futurism; secondly, by placing Futurism – and Lawrence’s interest in Futurism – in the light of the movement’s intellectual indebtedness to nineteenth-century Naturalism; and, thirdly, by providing new readings of The Rainbow, Women in Love and Studies in Classic American Literature which draw on these contextual materials. The book’s form will make it attractive to scholars and students of European modernism as well as to those interested in the works of D. H. Lawrence.
Poetics of the Iconotext by Professor Liliane Louvel Pdf
Poetics of the Iconotext makes available for the first time in English the theories of the respected French text/image specialist, Professor Liliane Louvel. A consolidation of the most significant theoretical materials of Louvel's two acclaimed books, L'Oeil du Texte: Texte et image dans la littérature anglophone and Texte/Image: Images à lire, textes à voir, this newly conceived work introduces English readers to the most current thinking in French text/image theory and visual studies. Focusing on the full spectrum of text/image relations, from medieval illuminated manuscripts to digital books, Louvel begins by introducing key terms and situating her work in the context of significant debates in text/image studies. Part II introduces Louvel's s typology of pictorial saturation through which she establishes a continuum along which to measure the effect of the most figurative to the most literal images upon writerly and readerly textual 'spaces.' Part III adopts a phenomenological approach towards the reading-viewing experience as expressed in conceptual categories that include the trace, focal range, synesthesia, and rhythm and speed. The result is a provocative interplay of the categorical and the subjective that invites readers to think at once more precisely and more inventively about texts, images, and the intersections between the two.
Examines how both artist and writer in the Victorian era responded to the shared challenges, assumptions, and dilemmas of their time, often unaware that the same problems were being confronted in the kindred media. The placing of such writers as Dickens, G.Eliot, Hopkins, and Henry James within the context of Victorian painting, architecture, and interior design offers fresh insights into their works, as well as reassessments of such themes as the mid-century representation of the Fallen Woman or the impact of commodity culture upon contemporary aesthetic standards.
Virginia Woolf and the Aesthetics of Vision by Claudia Olk Pdf
The category of vision is significant for Modernist texts as well as for the unfolding discourse of Modernism itself. Within the general Modernist fascination with the artistic and experimental possibilities of vision and perception this study looks at Virginia Woolf’s novels and her critical writings and examines the relation between visuality and aesthetics. An aesthetics of vision, as this study argues, becomes a productive principle of narrative. The visual is not only pertinent to Woolf’s processes of composition, but her works create a kind of vision that is proper to the text itself – a vision that reflects on the experience of seeing and renegotiates the relation between the reader and the text. The study investigates key dimensions of aesthetic vision. It addresses vision in the context of theories of aesthetic experience and identifies a semantics of seeing. It analyses functions of symbolic materiality in the presentation of boundaries of perception, modes of temporality and poetic potentialities. In exploring the connections between vision and language, it seeks to provide new perspectives for a reassessment of what occurs in Modernism's relation to vision.
