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Focusing, framing, scanning-the language of film-and Gombrich's studies in the psychology of perception are used by John Bender to isolate pictorial effects and devices in literature. The theory that he proposes, grounded in his analysis of Spenser, "the painter of poets," discriminates between the descriptive and the pictorial in poetry.Originally published in 1972.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Description (Rhetoric) --- Ut pictura poesis (Aesthetics) --- Descriptive writing --- Rhetoric --- Aesthetics --- Art and literature --- Humanism in art --- History --- Spenser, Edmund, --- Technique.

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Spanning four decades of radical political and social change in Italy, this interdisciplinary study explores photography's relationship with Italian painting, film, literature, anthropological research and international photography. Evocative and powerful, Italian social documentary photography from the 1930s to the 1960s is a rich source of cultural history, reflecting a time of dramatic change. This book shows, through a wide range of images (some published for the first time) that to fully understand the photography of this period we must take a more expansive view than scholars have applied to date, considering issues of propaganda, aesthetics, religion, national identity and international influences. By setting Italian photography against a backdrop of social documentary and giving it a distinctive place in the global history of photography, this exciting volume of original research is of interest to art historians and scholars of Italian and visual culture studies.

Photography --- Photography, Artistic --- Humanism in art. --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- History --- Aesthetics --- Photographie --- Photographie artistique --- Humanisme dans l'art --- Histoire

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The enmeshment of the human body with various forms of technology is a phenomenon that characterizes lived and imagined experiences in Russian arts of the modernist and postmodernist eras. In contrast to the post-revolutionary fixation on mechanical engineering, industrial progress, and the body as a machine, the postmodern, postindustrial period probes the meaning of being human not only from a physical, bodily perspective, but also from the philosophical perspectives of subjectivity and consciousness. The Human Reimagined examines the ways in which literary and artistic representations of the body, selfhood, subjectivity, and consciousness illuminate late- and post-Soviet ideas about the changing relationships among the individual, the environment, technology, and society.Contributors include: Alex Anikina, Keti Chukhrov, Jacob Emery, Elana Gomel, Sofya Khagi, Katerina Lakhmitko, Colleen McQuillen, Jonathan Brooks Platt, Kristina Toland, Julia Vaingurt, Diana Kurkovsky West, Trevor Wilson

Humanism in literature. --- Russian literature --- Art --- Human body and technology in literature. --- Human body and technology in art. --- Humanism in art. --- History and criticism. --- History and criticism --- Consciousness. --- Human body. --- Posthumanism. --- Russia. --- Selfhood. --- Subjectivity. --- Technology. --- Transhumanism.

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From the origins of modern copyright in early eighteenth-century culture to the efforts to represent nature and death in postmodern fiction, this pioneering book explores a series of problems regarding the containment of representation. Stewart focuses on specific cases of ""crimes of writing""--the forgeries of George Psalmanazar, the production of ""fakelore,"" the ""ballad scandals"" of the eighteenth and nineteenth centuries, the imposture of Thomas Chatterton, and contemporary legislation regarding graffiti and pornography.

Law and literature. --- Literary forgeries and mystifications. --- Mimesis in literature. --- Ut pictura poesis (Aesthetics). --- Ut pictura poesis (Aesthetics) --- Literature and law --- Literature --- Aesthetics --- Art and literature --- Humanism in art --- Representation (Literature) --- Imitation in literature --- Realism in literature --- Frauds, Literary --- Literary frauds --- Literary hoaxes --- Literary mystifications --- Mystifications, Literary --- Authorship --- Errors and blunders, Literary --- Forgery --- Hoaxes --- Literary curiosa --- Anonyms and pseudonyms --- Imaginary books and libraries --- Pasticcio

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Aux limites de l’imitation pose une question audacieuse que les innombrables études existantes sur l’ ut pictura poesis à l’âge classique ont eu tendance à laisser dans l’ombre : celle de la matière comme limite de l’imitation, suivant l’hypothèse selon laquelle le surgissement du matériel est à l’origine du délitement de l’ ut pictura poesis au cours de l’âge classique. Les études réunies ici abordent cette question pour l’ensemble de l’âge classique (allant du XVIe à la fin du XVIIIe siècle) ainsi que pour les principaux domaines artistiques que l’on peut distinguer (littérature, peinture, sculpture, musique, danse).

Ut pictura poesis (Aesthetics) --- Classicism in art. --- Art --- Aesthetics --- Art and literature --- Humanism in art --- Matière --- Classicisme (art) --- Ut pictura poesis (esthétique) --- Matière (philosophie) --- Ut pictura poesis (esthétique) --- Philosophie --- Dans l'art. --- Dans l'art --- Actes de congrès --- Matter in art --- Matter --- Esthétique --- Matière dans l'art --- Matière --- Ut pictura poesis (Esthétique) --- Philosophy