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The Subtext Of Form In The English Renaissance - Proportion Poetical

Heninger, S K

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ISBN 10: 0271010711 / ISBN 13: 9780271010717
Verlag: Pennsylvania State University Press, 1994
Gebraucht Softcover
Verkäufer Eastleach Books (Newbury, BER, Vereinigtes Königreich)

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Paperback, F. x+214pp, 31 b/w illustrations, index, a nice fine copy. New. Study of the clash between the Medieval notion that an object had symbolic meaning and the Renaissance idea of materialism. The book looks at the change in ideas which occured with the Renaissance when a fundamental rethinking of what an object actually represents took place. The book explores the onological & epistemological issues which surround this shift in our cultural history. 450 grams. Buchnummer des Verkäufers 42852

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Bibliografische Details

Titel: The Subtext Of Form In The English ...

Verlag: Pennsylvania State University Press

Erscheinungsdatum: 1994

Einband: Soft cover

Auflage: 1st edition..

Über diesen Titel


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 non-verbal 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.

From the Back Cover:

'This is a work of seminal importance in educating scholars on how to perceive art in any medium precisely because Heninger provides a successful methodology for understanding what lies behind the apparent content of texts and images. The book is highly original in advancing new theories, analyzing specific art works as well as synthesizing the gamut of conventional and avant-garde wisdom. One has the sense of having finally understood what texts and visual arts have in common, even and especially across geographical boundaries (Italy and England).'-Charles H. Carman, State University of New York, Buffalo

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