CFP - Written in the Margins: Interpreting Early Modern Artistic Literature (panel), Association for Art History 2023 Annual Conference, University College London. (original) (raw)
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Journal of Literature and Art Studies Issue 6 Vol.11 2021 June
David Publishing Company, 2021
From ut pictura poesis to intermediality, the close, interactive, and complicated relationship between poetry and painting has been an inevitable subject under discussion throughout the historiography of literature and fine art. Different approaches and interpretations to/on their sisterhood could come to a broad spectrum of interartistic ideas and practices. William Blake, an English Romantic poet, painter, and printmaker, links word and image by his invention of relief etching, or more understandably, the illuminated painting which juxtaposes his verse with in-text illustrations simultaneously on the same page. His technical strategy has already implied a dynamic and dialectical interrelation between word and image, like the treatment of earlier medieval manuscripts, yet in a more innovative rather than decorative manner. This article, therefore, through a comparative analysis of both Blake's verbal and visual representations, will first attempt to clarify two distinct modes of combining poetic language with visualisation vis-à-vis form and content, and then critically investigate how this word-image interaction can be used to reflect the poet's Romantic thought about sociocultural changes and provide new possibilities of reading, interpretation, and aesthetic complexity in that specific epoch.
This chapter examines a little-studied genre of marginalia, one that may be called visual glossing or visual commentaries. It consists of the reader's drawings on the margin that served as a tool for textual interpretations. Such drawings illustrated the scenes, objects, symbols, historical figures and other characters mentioned in the corresponding passages of the classical texts that Renaissance humanists read. These drawings sometimes existed alone, and sometimes co-existed with textual commentaries. They showed the reader's understanding, and often imaginations, of the text, more vividly than words. This paper examines closely the visual glossing of Ambrosius Blarer (1492-1564), a Benedictine who eventually became a Lutheran minister, Thomas Smith (1513-1577), an English jurist and statesman, and John Dee (1527-1608/8), an English humanist and magus. Their drawings are suggestive in many ways: as evidence that readers sought a vivid experience of the past not afforded by texts on their own, but also as attempts at a distinctive kind of visual explication of texts. They constitute an unexplored chapter in the history of readingand, it seems, of pedagogy and philologyin Renaissance Europe.
Journal of Literature and Art Studies Vol.3 Issue 1 January 2013
Journal of Literature and Art Studies, a monthly professional academic journal, covers all sorts of researches on literature studies, art theory, appreciation of arts, culture and history of arts and other latest findings and achievements from experts and scholars all over the world.
Journal of Literature and Art Studies Issue 7 Vol.14 2024 July
David Publishing Company, 2024
As an ekphrastic poem recreated from the painting Coronation of the Virgin, "Fra Lippo Lippi" lacks adequate scrutiny from the perspective of interart poetics. With regards to the core concept of ekphrasis, this paper makes an in-depth analysis of the features and functions of ekphrasis in the poem. The former lie in the poet's identification with the painter, and his imaginative supplementation in "the verbal representation of visual representation". The latter are embodied in the revelation of the invisible in the painting, namely, the desires and value of human beings, as well as the power of beauty and truth. Browning enriches the poem with both philosophical and artistic contemplation, thus strongly conveying the thematic implications of "know thyself" and the persistent pursuit of beauty and truth. It is hoped that this study can shed some light on the studies of Robert Browning and the poem itself, and contribute to the development of the interart poetics.
re-published in a modified version as The Psychoanalytic Approach to Artistic and Literary Expression in Toward the Postmodern, ed. R. Harvey and M. Roberts (Amherst, NY, Humanity Books, 1993, pp. 2-11). Opposing itself to various other psychoanalytic approaches to art and literature (approaches that Lyotard criticises along the way), the paper argues that because artistic and literary works are laden with figure, which operates according to a different logic than that of language, artistic expression must be understood as having properties different from those of spoken or written commentary. Expression is thus set off from meaning, and is shown to reveal a very specific kind of truth: the trace of the primary process, free for the moment from the ordering functions of the secondary process. Its formative operations not only leave their mark on the space in which artistic works appear, but produce new, plastic, figures. Lyotard argues that the artistic impulse is the desire to see these unconscious operations, "the desire to see the desire." Attention to this function of truth and to the role of artistic space in giving the artwork its "play" brings attention back to Freud's analysis of expression in tragedy and its link to the results of his own self-analysis -and thus to the very constitution of psychoanalysis itself.
Journal of Literature and Art Studies Vol.2 Issue 8 August 2012
Journal of Literature and Art Studies, a monthly professional academic journal, covers all sorts of researches on literature studies, art theory, appreciation of arts, culture and history of arts and other latest findings and achievements from experts and scholars all over the world.
Journal of Literature and Art Studies Issue 8 Vol.12 2022 August
David Publishing Company, 2022
is not only a literary artist but also a literary critic in the Victorian age. As a critic, he carried through his aesthetic ideology of the critic as artist that he treated the critic activity as art creation. The Portrait of Mr. W. H. is one of Wilde's critic work exclusively on Shakespeare's sonnets. It is a piece of critic work as well as a piece of creative art in the form of novella, which well demonstrated Wilde's critical ideology of the critic as artist. This present paper will try to analyze Wilde's Shakespearean critic from his ideology on critic and art by taking the case of The Portrait of Mr. W. H.