The subtext of form in the English Renaissance : proportion poetical

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Title:

Author:

Heninger, S. K.

ISBN:

9780271010700

9780271010717

9780271027340

Personal Author:

Heninger, S. K.

Publication Information:

University Park, Pa. : Pennsylvania State University Press, c1994.

Physical Description:

ix, 214 p. : ill. ; 24 cm.

Contents:

Romancing the Renaissance: the perils of periodizing -- Socrates and his versified Aesop: the subtext of form -- Origin of the sonnet: form as optimism -- Companion poems: the discourse about otherness -- Alberti's window: the rhetoric of perspective.

Subject Term:

English poetry -- Early modern, 1500-1700 -- History and criticism -- Theory, etc.

Narration (Rhetoric) -- History -- 16th century.

Narration (Rhetoric) -- History -- 17th century.

Literary form -- History -- 16th century.

Literary form -- History -- 17th century.

Poetics -- History -- 16th century.

Poetics -- History -- 17th century.

Aesthetics, Modern -- 16th century.

Aesthetics, Modern -- 17th century.

Renaissance -- England.

Proportion (Art)

Copies:

Available:*

Library	Material Type	Item Barcode	Shelf Number	Copy	Status
Searching... 1:IIEMSA	1:GEN-BOOK	33168025460037	821.309 H511S 1994	1	Searching... Unknown

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Summary

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.