Painting and Poetry: Form, Metaphor, and the Language of LiteratureBucknell University Press, 1985 - 248 This study addresses itself to the formal (in the topological sense) aspect of literature and literary words, and concludes that if logos (discursive langauge) and mythos (literary language) are indeed contiguous complementary forms, they are then essentially no different from those forms with which the painter or sculptor deals in the formation of his art object. |
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Strona 12
... fact that seven of its twenty characters contain the " roof " radical , a radical which visually conjoins palace and woman : the palace is the place of her being , and hers is the being of the palace . The point is also visible in a ...
... fact that seven of its twenty characters contain the " roof " radical , a radical which visually conjoins palace and woman : the palace is the place of her being , and hers is the being of the palace . The point is also visible in a ...
Strona 17
... fact that commentary has been based upon the original French , the French text is presented first with the English translation follow- ing in brackets . Wherever practicable , in the case of comments by German artists , the original ...
... fact that commentary has been based upon the original French , the French text is presented first with the English translation follow- ing in brackets . Wherever practicable , in the case of comments by German artists , the original ...
Strona 27
... fact that the bison is represented as standing up on its hind legs . Another excellent example is a red - ochre horse in Gallery 3 of Le Portel whose general orientation on the wall , line of the back , hindquarters , and hind leg are ...
... fact that the bison is represented as standing up on its hind legs . Another excellent example is a red - ochre horse in Gallery 3 of Le Portel whose general orientation on the wall , line of the back , hindquarters , and hind leg are ...
Strona 34
... fact amply illustrated by the emphasis placed by artists upon training the image memory and relying upon it rather than upon observation at precisely this stage in the formation of the work of art . This essential image interplay is the ...
... fact amply illustrated by the emphasis placed by artists upon training the image memory and relying upon it rather than upon observation at precisely this stage in the formation of the work of art . This essential image interplay is the ...
Strona 35
... fact that Picasso's memory for the forms of the world about him was so good that he no longer needed models . " He knows them all by heart — their contours , their singularities , everything that makes them unique . " Agreeing with him ...
... fact that Picasso's memory for the forms of the world about him was so good that he no longer needed models . " He knows them all by heart — their contours , their singularities , everything that makes them unique . " Agreeing with him ...
Spis treści
23 | |
41 | |
Archetrope and Transformation | 62 |
The Literary Art Object A Topological View | 81 |
Literary Form The Topology of Metaphor | 105 |
The Perception of Poetic Form | 125 |
Logos and Mythos | 148 |
Words and Signs | 172 |
The Pleasure of Ulteriority | 197 |
Notes | 217 |
Works Cited | 231 |
Index | 243 |
Kluczowe wyrazy i wyrażenia
Allan Paivio Altamira André Leroi-Gourhan artistic vision axis Bachelard becomes bimodalism bison Braque Brassaï calligraphy cave Chinese cognitive color composition concept consequence cubist cutouts discontinuity drawing Edited elements essential example experience eyes fact figure Françoise Gilot fusion garden Gaston Bachelard Gertrude Stein Gogh Henri Matisse illustrate imagery imagination interplay isomorphism Jean Vertut Lascaux left hemisphere linear linguistic literary art object literary language literature logos manifest Matisse's means memory image metaphor Morphogenesis movement mythos nature Necessary Angel novel painter Paris perceived phenomenon phrase Picasso poem poet poet's poetic polysemy precisely prehistoric present reader reading reality René Thom right hemisphere Robert Frost rock protuberance schèmes sense shape significance signification space Spender structure suggested surface surreal synchronous Tabac Royal thing Thom tion topological model trans transformational perception Translated truth University Press vase verbal event virtual lines visual Wallace Stevens woman Woolf word writing wrote York
Popularne fragmenty
Strona 28 - Sometime we see a cloud that's dragonish, A vapour sometime like a bear or lion, A towered citadel, a pendent rock, A forked mountain, or blue promontory With trees upon 't, that nod unto the world And mock our eyes with air.
Strona 52 - And what can these avail To lift the smothering weight from off my breast? My genial spirits fail; It were a vain endeavor, Though I should gaze for ever On that green light that lingers in the west; I may not hope from outward forms to win The passion and the life, whose fountains are within.
Strona 186 - How loved, how honoured once, avails thee not, To whom related, or by whom begot; A heap of dust is all remains of thee; 'Tis all thou art, and all the proud shall be. A
Strona 186 - Who lets so fair a house fall to decay, Which husbandry in honour might uphold Against the stormy gusts of winter's day And barren rage of death's eternal cold? O none but unthrifts, dear my love you know, You had a father, let your son say so. Here
Strona 52 - Though I should gaze for ever On that green light that lingers in the west; I may not hope from outward forms to win The passion and the life, whose fountains are within. The
Strona 208 - Peter Quince at the Clavier": Just as my fingers on these keys Make music, so the self-same sounds On my spirit make a music, too. Music is feeling, then, not sound; And thus it is that what I feel, Here in this room, desiring you, Thinking of your blue-shadowed silk, Is music.
Strona 64 - If I read a book [and] it makes my whole body so cold no fire ever can warm me I know THAT is poetry. If I feel physically as if the top of my head were taken off, I know THAT is poetry. These are the only way I know it. Is there any other way.
Strona 64 - can warm me I know THAT is poetry. If I feel physically as if the top of my head were taken off, I know THAT is poetry. These are the only way I know it. Is there any other way.
Strona 107 - it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life—not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion.
Strona 51 - Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.