Renaissance Realism: Narrative Images in Literature and ArtOxford University Press, 2003 - 220 strán (strany) This book questions the assumption of a single realism, the continuous realism of novels. Many suppose that narrative before the novel either looked forward to it or was medieval and allegorical, and compare the introduction of single-point perspective with the rise of the novel. But continuous realism did not arise as soon as perspective was discovered. In actuality, a distinctive sort of Renaissance realism, with its own conventions, was practised from the late Middle Ages to the seventeenth century. Renaissance Realism surveys the history of perspective, showing that it only gradually came to dominate the western imagination and to become the default assumption for portrayal in the visual arts. Looked at in this way, correlates between literature and art emerge in the depiction of objects and events. Treatment of spatial arrangement and time sequences, for example, closely parallel 'simultaneous narration' in the visual arts. |
Obsah
List of illustrations X x | 14 |
Abbreviations | xvi |
Events in Time | 20 |
Time Sequences and Schemes | 34 |
Narrative Assumptions | 45 |
Involved Spectators | 66 |
Britomart at the House of Busyrane | 85 |
Shakespeares Renaissance Realism | 100 |
Notes | 123 |
References | 167 |
Glossary | 210 |
Časté výrazy a frázy
Actaeon action Alexander 1971 Allegory Amatorius Amor Amoret Amoris Divini Andrea Alciato Anon architecture artists Borsi British Library Britomart Busyrane Busyrane's Cambridge University Press character Chicago and London Clarendon Press Conn continuous convention critics Cupid depiction Dodsworth Dodsworth 1985 drama Elizabethan Elkins emblem English episode Essays example Faerie Queene fiction Fowler framed Glasgow University Library Hamlet History history painting honour illusion inset John Laertes landscape Literary literature London masque Medieval metaphor Milton mimesis mirror modern moral multiple Museum narration National Gallery Ophelia Orlando Furioso Painting Panofsky Paradise Lost passim picture Plutarch polyscenic Portrait Princeton University Princeton University Press Puttfarken 2000 realism Renaissance narrative rhetorical scene Scudamour sequence seventeenth century Shakespeare simultaneous narrative single-point perspective space spatial spectator Spenser Stoichita 1997 story Studies symbolism tapestries Teatro Olimpico theory unified Venice viewer visual art William Yale University Yale University Press York