SIDNEY AND SPENSER: POET AS MAKER By S. K. Heninger Used - Hardcover

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Artikelzustand
Gut: Buch, das gelesen wurde, sich aber in einem guten Zustand befindet. Der Einband weist nur sehr ...
Narrative Type
Fiction
ISBN
9780271006666
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
Pennsylvania STATE University Press
ISBN-10
0271006668
ISBN-13
9780271006666
eBay Product ID (ePID)
86633

Product Key Features

Number of Pages
660 Pages
Language
English
Publication Name
Sidney and Spenser : the Poet As Maker
Publication Year
1990
Subject
Poetry, Semiotics & Theory, European / English, Irish, Scottish, Welsh
Type
Textbook
Author
S. K. Heninger Jr.
Subject Area
Literary Criticism
Format
Hardcover

Dimensions

Item Height
1.3 in
Item Weight
38.2 Oz
Item Length
9 in
Item Width
6 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
88-039036
Dewey Edition
19
Illustrated
Yes
Dewey Decimal
821/.3
Synopsis
Sidney and Spenser reached their artistic maturity as the 1580s began. While they responded in individualistic ways to the cultural formation then prevailing, they set the course of literature in England for centuries to come. With these poets, allegory transmutes to fiction. Heninger's study is concerned centrally with this transformation, and with the historical circumstances that encouraged and sustained it. For English writers this change was largely effected by the adoption of Aristotelian imitation as the quiddity of the poetical art. As its distinctive feature, poetry no longer reflects heavenly beauty or echoes cosmic harmony--it isn't rhyming and versing that make a poet, Sidney says. Instead, literature becomes a depictive art, a narrative with semantic content. The new poetry created "speaking pictures," and it acquired this ability to address simultaneously both ear and eye by virtue of its medium. Language allows poetry to display aural and visual properties, allying it with music on the one hand and with painting on the other. So this study investigates Renaissance notions of how language engages a reader, with both musical and painterly effects. By assimilating the principles of Aristotelian mimesis, Sidney devises a poetics that assigns meaning to the verbal system itself. Writing is making., Sidney and Spenser reached their artistic maturity as the 1580s began. While they responded in individualistic ways to the cultural formation then prevailing, they set the course of literature in England for centuries to come. With these poets, allegory transmutes to fiction.Heninger's study is concerned centrally with this transformation, and with the historical circumstances that encouraged and sustained it. For English writers this change was largely effected by the adoption of Aristotelian imitation as the quiddity of the poetical art. As its distinctive feature, poetry no longer reflects heavenly beauty or echoes cosmic harmony it isn't rhyming and versing that make a poet, Sidney says. Instead, literature becomes a depictive art, a narrative with semantic content.The new poetry created "speaking pictures," and it acquired this ability to address simultaneously both ear and eye by virtue of its medium. Language allows poetry to display aural and visual properties, allying it with music on the one hand and with painting on the other. So this study investigates Renaissance notions of how language engages a reader, with both musical and painterly effects.By assimilating the principles of Aristotelian mimesis, Sidney devises a poetics that assigns meaning to the verbal system itself. Writing is making.", Sidney and Spenser reached their artistic maturity as the 1580s began. While they responded in individualistic ways to the cultural formation then prevailing, they set the course of literature in England for centuries to come. With these poets, allegory transmutes to fiction. Heninger's study is concerned centrally with this transformation, and with the historical circumstances that encouraged and sustained it. For English writers this change was largely effected by the adoption of Aristotelian imitation as the quiddity of the poetical art. As its distinctive feature, poetry no longer reflects heavenly beauty or echoes cosmic harmony-it isn't rhyming and versing that make a poet, Sidney says. Instead, literature becomes a depictive art, a narrative with semantic content. The new poetry created "speaking pictures," and it acquired this ability to address simultaneously both ear and eye by virtue of its medium. Language allows poetry to display aural and visual properties, allying it with music on the one hand and with painting on the other. So this study investigates Renaissance notions of how language engages a reader, with both musical and painterly effects. By assimilating the principles of Aristotelian mimesis, Sidney devises a poetics that assigns meaning to the verbal system itself. Writing is making.
LC Classification Number
PR531.H44 1989

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