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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... logos , the primordial signified lying behind all the signifiers in the book of nature . The logocentric aesthetic is orthodox , authoritative , patriarchal . In contrast , the hylocentric aesthetic assumes that the ultimate referent ...
... logos does not mean the uttered word , but rather the idea that the uttered word signifies . To use Saussurian terminology , the logos is the signified , not the signifier . In the popular gospel according to Saint John , Christ appears ...
... logos . Derrida totalizes the premodern period as the Christian era . But at the same time he characterizes that Christian culture by an opposition within its theory of language : “ To this epoch belongs the difference between signified ...
Conteúdo
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 Visualização parcial - 1994 |
The Subtext of Form in the English Renaissance: Proportion Poetical S. K. Heninger Prévia não disponível - 1994 |