Download E-books Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson PDF

From historical Egypt during the 19th century, Sexual Personae explores the provocative connections among paintings and pagan ritual; among Emily Dickinson and the Marquis de Sade; among Lord Byron and Elvis Presley. It finally demanding situations the cultural assumptions of either conservatives and standard liberals. forty seven images.

Show description

Read Online or Download Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson PDF

Best Art History books

Convergences: Essays on Art and Literature

Engrossing essays that mirror the author’s big and sophisticated wisdom of the realm. themes diversity from the non secular rites of the Aztecs to trendy american portray, from jap paintings and faith to like and eroticism. Translated through Helen Lane.

Mnemosyne: The Parallel between Literature and the Visual Arts (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series XXXV-16)

AW Mellon Lectures in effective Arts are awarded each year on the nationwide Gallery of paintings in Washington. they're released within the prestigious Bollingen Series.

The Bollingen sequence is devoted to top of the range scholarly monographs on paintings, tradition, and philosophy.

From the dirt jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the plentiful facts of lengthy
mutual figuring out and correspondence be­
tween the sister alts even though parallels of
theme and suggestion are ample, be is now not
primarily involved with those. fairly, he
examines the shut courting or air de fanulle
between the expression of the arts m any given
Each epoch has “ its strange handwriting
or handwritings, which, if one may possibly interpret
them, could exhibit a personality, even a physi­
cal visual appeal. ” even supposing handwriting is
taught and a few of its features therefore
belong to the normal kind of the interval, the
personality of the author does no longer fail to pierce
through. anything of the related variety, the au­
thor proposes, happens in paintings. The kinship of
literature and portray rests on this circum­
stance: a paintings of artwork, no matter if visible or liter­
ary, needs to use the unique “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside a number of
periods o f background can eventually be traced,
then, to structural similarities— similarities
that come up out of the attribute means in
which the humans of a convinced epoch see and
memorize proof aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, accordingly presides over this view
of ihe arts. In illustrating her iniluence. Pro­
fessor Praz levels extensively via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan­
guage and Literature at the college of
Rome. His previous books comprise The Roman­
tic ache, experiences in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout via P J. Conkwright

Art in Three Dimensions

Artwork in 3 Dimensions is a set of essays through some of the most eminent figures in philosophy of artwork. The animating suggestion in the back of Noel Carroll's paintings is that philosophers of artwork should still eschew one of these aestheticism that frequently implicitly -- yet occasionally explicitly, as on the subject of aesthetic theories of paintings and in their commitments to the inspiration of the autonomy of artwork -- governs their method.

Cinema by Other Means

Cinema by means of different capacity explores avant-garde endeavors to perform the cinema through the use of the fabrics and the ideas assorted from these generally linked to the cinematographic gear. utilizing examples from either the historic and the post-war avant-garde -- Dada, Surrealism, Letterism, "structural-materialist" movie, and extra -- Pavle Levi unearths various bizarre and imaginitive ways that filmmakers, artists, and writers have meditated and created, played and remodeled, the "movies" without or with at once grounding their paintings within the fabrics of movie.

Additional info for Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

Show sample text content

Chaucer, and this is his carrying on with allure, accepts the flesh. however the Apollonian resists nature by way of its adversarial eye-drawn line. For me, studying Chaucer is like battling via cattails whereas being ij2 Spenser and Apollo frightened by way of midges. There are too many phrases, Gothic flutters and curlicues. Portraiture within the Canterbury stories has a scratchy, rustling aspect coming, like Northern ecu portray, from manuscript illumination. In Greco-Roman phrases, it's a coy, worked sort. clever Chaucer, placing roses within the cheeks of medieval asceticism, opposes absolutism and extremism in all issues. however the idealizing Apollonian mode is absolutist and extremist from the 1st architectural overstatements of outdated nation Egypt Western greatness is unwise, mad, inhuman. innovative Spenser places the attention into English poetry. Horace's concept poem could be like an image used to be a lot mentioned within the Renaissance. yet Spenser is going a long way past this. photograph, A. C. Hamilton rightly insists, is as the most important as allegory. 1 The competitive eye is the conceptualizing strength of The Faerie Queene and the grasp of its biggest principles. Spenser is history's first theorist of aggression, awaiting Hobbes, Sade, Darwin, Nietzsche, and Freud. simply Leonardo and Michelangelo ahead of him had struggled with the ethical challenge of the woke up eye. Spenser's pagan eye burns comfortable Chaucer correct out of English poetry. no longer on the grounds that Homer had there been so cinematic a poet. Spenser's lengthy blazing sightlines prefigure the epic sweep of movie and the probing light-beam of the projector. the hole up of secular house in Italian portray via point of view is paralleled within the large distances of The Faerie Queene. Spenser's standard second is the glancing of sunshine off the armour of a far off knight. Who or what's it? We by no means listen a reputation until eventually the scene is almost over. Spenser, up to Donatello, knows the which means of medieval armour as a car of western pagan id. Spenser is an Apollonian thing-maker within the culture linking stony Pharaoh Chephren to fashionable steel cans and vehicles. character in Spenser is armoured, an artifact of competitive forging. The subject matter of The Faerie Queene is similar one i discovered in Michelangelo, a clash among definitiveness and dissolution of self. within the Renaissance, intercourse has a perilous freedom. That barbaric powrer consigned to the medieval Hell now waits in each glade, back to its previous position in nature. The western eye, author of the pointy obstacles of selfhood, is sucked into will-lessness by way of the entice of sensual attractiveness. to maintain its autonomy, the Spenserian eye suspends itself in voyeurism, a tactic of protection that becomes perversion. Judaism had kept away from this limitation by means of raising the observe and banishing the attention. yet Christianity, assimilating pagan paintings, was once divided opposed to itself from the instant it left Palestine. Spenser's profound research of the amoral dynamics of the The Faerie Queene *73 western eye makes The Faerie Queene the ideally suited paintings of Renaissance literature until eventually Hamlet, which makes use of Spenserian voyeurism in almost each scene, The Apollonian line to which The Faerie Queene belongs all started in Egypt and Greece and passes via Donatello, Botticelli, Michelangelo, Blake, and Shelley to the Pre-Raphaelite painters and Oscar Wilde.

Rated 4.62 of 5 – based on 23 votes