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

By Mario Praz

AW Mellon Lectures in positive Arts are provided each year on the nationwide Gallery of artwork in Washington. they're released within the prestigious Bollingen Series.

The Bollingen sequence is devoted to top of the range scholarly monographs on artwork, 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 realizing and correspondence be­
tween the sister alts even though parallels of
theme and idea are considerable, be is now not
primarily involved with those. fairly, he
examines the shut dating or air de fanulle
between the expression of the arts m any given
epoch.
Each epoch has “ its unusual handwriting
or handwritings, which, if one may well interpret
them, might demonstrate a personality, even a physi­
cal appearance.” even if handwriting is
taught and a few of its features therefore
belong to the basic kind of the interval, the
personality of the author does now not fail to pierce
through. anything of the similar variety, the au­
thor proposes, happens in artwork. 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 exact “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside of a number of
periods o f historical past can eventually be traced,
then, to structural similarities— similarities
that come up out of the attribute approach in
which the humans of a yes epoch see and
memorize evidence aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, for that reason presides over this view
of ihe arts. In illustrating her iniluence. Pro­
fessor Praz levels largely 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 past books contain The Roman­
tic anguish, stories in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout via P J. Conkwright

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Keats’s notes on liis Scottish travel, the place lie imagines on Lorh Lomond a fleet of chivalry bargt^ wttli trumpets and banners, fad ing within the a/. ure distance am ong the mountains. Wc are tokl that the concept for this fan tas\ cam e to him 6 zero in C laude’s so-called / nchant&d fortress, yet. until hence warned, we might locate its counterpart really within the m edieval fantasies of the normal rom antic painter Fhom as Cole, whose T h e D eparture and T he go back (both within the Cor­ coran Gallery of paintings, W ashington) convey crenelated castles overlooking rom antic expanses of water, and barges with warriors donning feathered helm ets. Doth Ingres and D elacroix have compositions on a then fashiona­ ble topic from the N ear East, to whose attractiveness Byron's “T ales in verse had mostly contributed: the harem . Ingres’s Odalisque [10 ], painted in 1 eight 1 four . rem inds us of Canova's Puolinu Borghese as V enus; yet D elacroix’s W om en o f A lgiers [ n ] of 18 three four relies on sketches m ade directh immediate by means of the painter h im self,1'1 and this portray has a better fam ih likeness to R enoir’s portray [12 ] 011 a sim ilar topic (P arisian s D ressed in Algerian Costum e. 18 7 2 , conceived as a hom age to D elacroix), than to Ingres’s. In circumstances like this the hyperlink among paintings and literature is even looser than relating to Thom son and Collins simply examination ined. yet issues m ean little; it's the m anner within which they're handled that merits attention, and Ingres had neoclassical styles in brain (even the dancer in Le Bain turc appear s to owe her angle to an old bas-relief), whereas Delacroix, notwithstanding he too w as topic to impacts, relied to begin with 011 firsthand im pressions precious with a rom antic’s love of expertise. All this look s to substantiate the appositeness of a rem ark in Wellek and W arren’s thought o f Literature that "the quite a few arts— the plastic arts, literature and m usic— have each one their person evolution, with a fluctuate­ ent pace and a unique inner constitution o f elem ents. . . . We m ust conceive of the sum overall of m an’s cultural actions as of a complete process of self-evolving sequence, every one having its personal set of norm s which aren't n ecessarily exact with these of the neighboring sequence. ”17 A sim ilar rem ark concludes the volum e of Helmut A. H atzleld. Litera­ ture via A rt, A N ew method of Fren ch Literature: "It looked as if it would me not just a valid viewpoint yet an absolute precept that the prim ary 20 MNEMOSYNE * 1 and predom inantly aesthetic strategy within the research of any paintings can't be changed by way of the other, if paintings isn't to he, disadvantaged ol in very th ai. it ter. he provides that yet it needs to be supplem ented through what a few li. n e ca Iltd p ristcs- geschichti’ or the heritage ol principles. ' il the classy difficulties are to he understood. " And his ultimate phrases are that during his publication he has tried to use Wolfflin’s rules “ to the literary lit identity in its iusepai. ib ilm from artwork. ” 1" Professor Hafcsfeld’s booklet bears in spite of the fact that now not loads at the parallel among a few of the arts, as on a type of iconologic expligu ce par lc^ tc \(es its software lies in its being a repertory ol subject matters, even though no longer prepared within the type of a listing like A.

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