The Language of Gaze in Robert Herrick\u27s Hesperides (original) (raw)
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'Heaven and Hell in Robert Herrick's Body of Work,'
This essay examines the prominent treatment of the body in the published works of Robert Herrick. Leaving behind the mere cataloguing of body features in Petrarchan imitations (so characteristic of Elizabethan poetry) Herrick deals not just with limbs and members but with the functional aspects of the parts of the body. This essay offers a reading of the volume of Herrick's works (which included both Hesperides and Noble Numbers) as part of the overall pattern that is focused on the physical body as it is represented in his verses. Further, rejecting the critical tendency to treat the divine poems of Noble Numbers as an entirely separate collection (albeit bound together with Hesperides), it argues that to be fully understood and appreciated the volume as a whole requires reading as a composite like the body and the soul, or as Herrick refers to the two parts a ‘Hell’ and a ‘Heaven’.
Et Oculi Mei Conspecturi Sunt: Interdiegetic Gaze and Devotion.
In Ut Pictura Meditatio: Meditative Image in Northern Art 1500-1700. Edited by Walter Melion. Turnhout: Brepols, 2012.
In the late fifteenth and early sixteenth centuries, several Northern European as well as Italian illuminators developed a genre of illusionistic and spatially complex historiated borders surrounding framed central scenes. 2 The Master of James IV of Scotland, the Vienna Master, and other, mainly Netherlandish book painters built upon the innovations of earlier illuminators such as Jean Fouquet, who integrated border, text and central scene into a continuous space. 3 While these feats of technical skill have been interpreted in diachronic terms as the "death knell" of book illumination, a thorough semiotic analysis of the play between border and center in these books remains to be written. 4 As a small contribution to this task, the present essay will examine one particular manuscript whose complex images both depict and interact with late medieval meditative practices. 5 The phenomenon of play between border and center in Pierpont Morgan MS M. 1001, a book of Hours executed in the last quarter of the fifteenth century in Poitiers, appears uniquely attuned to devotional image theory and practice. 6 In particular, the 1 This essay was prepared originally for Dr. Walter Melion's Ph.D. course in Meditative Images at Emory University in Fall 2006. I thank him warmly for his close reading, brilliant suggestions and kind help. image of Job and Lazarus that prefaces the Office of the Dead explores the rich possibilities offered by the structure of the image-within-the-image (fig. 1). Such interaction between distinctly framed diegetic worlds, or what one might call "unified narrative spaces," allows for an exploration of the thematics of devotional sight, and especially the potential power of sight to invert the assumed relationship of the outside to the inside. To this effect, M. 1001 creates a series of mis-en-abymes: the liminal gaze of the devotee, mirrored through the interactions between images inhabiting distinct narrative spaces -that is, their interdiegetic gazes -becomes the locus of intersection of sacred image and the phenomenal world. Meanwhile, the clever use of typological relationships within certain border-and-miniature images reveals the complex relationship between ostensibly separate diegetic worlds. Within M. 1001, sight that traverses from one narrative world into another moves beyond mere juxtaposition to fashion a powerful figure of sight as a means of devotion and transformation. 7
In this research study, the writer would like to describe "The Meaning Analysis of "To Dianeme" in Robert Herrick's Poem (Semiotic Approach in Literature Analysis)". Descriptive qualitative method is used by the writer for the study and also received most of the source from the internet for the related subject as references. The finding of this poem there are two meaning which can be found in "To Dianeme" such as heuristic like denotative meaning and hermeneutic like connotative meaning. As the main source of data consists of one short story which entitled "To Dianeme" in Robert Herrick's Poem and the secondary data used from reference books and internet.
‘Gaze’ and ‘Visuality’ in Jane Austen’s Pride and Prejudice
k@ta, 2012
‗Gaze' has had a remarkable and distinctive position among human's senses from the old times. Its excellence and superiority is based on two aspects, one is the practical function of seeing by the use of the two eyes, and the other is the inner view and thinking. Visual expressions and words such as gaze, look, observe, view, glance, watch, etc., have all significant symbolic and metaphorical references in the world of literature. Moreover, vision is not limited to what we see or look at, but it refers to both inner and outer results of looking (Yazdanju 323). The symbolic notions of ‗eye' and its applications are also considerable. It is believed that the right eye is the symbol of the Sun which is based on the activities and future, while the left eye stands for the Moon and looks back at the past. Some others hold that the two eyes are the symbols of ‗love' and ‗mind'. The ancient Egyptians used to make up their eyes which were for them a symbol of sacredness. This is viewed in most of Egyptian artistic works. The eye of the heart or the eye of the soul is present in the philosophies of Plotinus, Augustine, Paul the Apostle, and also in Islamic mysticism, especially in the words of Mansur Hallaj (Fazayeli 513).
2018
Hester Pulter’s (1605-1678) work was discovered in 1996 in the Brotherton Library at the University of Leeds. Pulter composed her poetry in the 1640s-1650s, but her works were not compiled until the 1660s. Overall, her manuscript contains one hundred and twenty poems and emblems in addition to an unfinished prose romance. Pulter recalls her personal life in her poems, and the collection includes her elegiac and lyrical poems on different topics such as politics, religion, childbirth, and the death of her children. In her elegiac poetry, Pulter explores of the experience of childbirth and sickness through a set of conventional Christian ideas about death. However, Pulter’s elegiac poetry also breaks away from Christian conventions, often through the use of astronomical imagery. In this thesis, I argue that Pulter’s grief and consolation strategies sometimes differ from her contemporaries; however, she eventually finds consolation using imagery drawn from her knowledge of the new astr...