As Stephen Greenblatt points out, what was really worrying for the Queen was both the repeatability of the representation — and hence the multiplying numbers of people witnessing it — and the locations of these repetitions: Badmington helped me become a better academic researcher through his lectures and support. That is to say that there is no study or survey that has collected a renaissnace set of ideas, poetics, which define the practice that we today call the New Historicism. While the reenaissance tenets that I presented can be considered representative of the literary practice, they are far from complete when we want to talk about a New Historicist poetics. While Michaels is indeed considered a New Historicist, the article in itself is at least ambiguous: The conclusion from this thesis could be that there is, at least through this one case study of Louis Montrose, a noticeable difference between theory and practice. When literature is seen as a contingent phenomenon produced in and by discourse, then a whole set of new objects and connections becomes immediately and directly available for study: However, this is only part of the task that lies ahead, as the New Tbe is or can be regarded to be both diachronic and synchronic in its approach.
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Louis A. Jameson attempts to view the individual, whether author or reader, within a larger context, particularly within social structures, while keeping an eye on the present and his own ideological position. Nevertheless, works of art and literature express the alienated condition of our time and yet also compensate for certain aspects of this loss through alternative offerings of fullness.
This can be interpolated to be true of reception and interpretation as well. It is impossible to completely step outside the fact of our subjective perception, but works of art can assist us in rupturing the casings which continuously threaten to surround us—formed from the incrustations of our unquestioned assumptions.
This action can bring about a widening of our subjective experience, an idea which meshes well with the philosophical theory of interpretation of Hans-Georg Gadamer, which I have already discussed link.
Jameson has a strong sense of the urgency of concrete experience, however subjectively encountered it must always be.
The form of literary works is always profoundly intertwined with the tangible. What is important is what a technique or structure can or cannot do, as engaged with the dominant cultural imperatives of its time and place. This is a fine observation that can be applied to visual art, especially painting, and the formation of individual tropes. The strength of a trope resides in what it can say or not say about lived experience.
I agree with Jameson that reality is more than just a text. Furthermore, the playfulness of a new trope helps rupture encrusted thought, and when it is broadly applied, supplies an example of a possible new fullness. Jameson finds his ideas true of our understanding of narratives in general, as well as of the creation and formal presence of literature. Stories require interpretations and often our experiences are present in our mind as stories. Interpretation is thus one of our chief activities in life.
Works of visual art likewise bring this to the fore by being necessarily open to various levels of reading, of construal. For Jameson, each interpretation is in some way true. Each explanation discloses a particular feature of the aesthetic object while evidencing a characteristic of society. I would add that it also reveals an attitude of acceptance, denial, or resistance to given interpretations.
In my theory of Metaphor m , I attempt to describe how the elements of creative form in artworks are intertwined with material reality, as maintained by Jameson.
Metaphor m , described in short: Link. Notes: This article is based on a section of my dissertation. Aram Veeser New York: Routledge, , pp. David Lodge London: Longman, , p.
Literary Theory: An Anthology (Blackwell Anthologies)
If, on the other hand, this is a cultural reference, then Montrose cannot be said to be diachronic in the analyses that are studied here. It would be incorrect to pass them off as such. Louis Montrose — Wikipedia In doing so, perhaps this thesis may find a foundation for what Veeser While comparative renaissande criticism would be necessary to discover who voiced these basic premises first, the fact they seem recurring in some form of another in the seven introductory texts, sometimes in almost identical terms, cannot be regarded as coincidence. To attempt this within the scope of this thesis would be, however, quite unfeasible. However, due to the limited nature of this thesis, it would be wrong to draw this conclusion. During the harsh winter of and the first months ofwhilst preparing a PhD-application for the FWO, we agreed that something was missing in the study of the New Historicism.
Professing the Renaissance: The Poetics and Politics of Culture