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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... opposites of day and night comprising the diurnal unit of time . But more is implied here . While day and night taken together define a unit of time , they also perpetually follow one another , so that in their continuous succession ...
... opposites . Projecting Plato into the realm of Christian ethics , Augustine gave prominence to this synthe- sizing ... opposite , good ; so evil exists only as a negative , as not being something else . Good always pre- vails , in ...
... opposites is what reveals the underlying reality the poet is attempting to represent . Plato , with Christian neoplatonists such as Augustine , presupposes an oxymoronic unity , as we have noted in Figure 22a . Under the auspices of a ...
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 |