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Spenser and literary pictorialism,

Author: John B Bender
Publisher: [Princeton] Princeton University Press [1972]
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
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 poses, grounded in his analysis of Spenser, "the painter of poets," discriminates between the descriptive and the pictorial in poetry. In elaborating his theory, Mr. Bender examines in detail major segments of  Read more...
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Genre/Form: History
Named Person: Edmund Spenser; Edmund Spenser; Edmund Spenser; Edmund Spenser; Edmund Spenser
Document Type: Book
All Authors / Contributors: John B Bender
ISBN: 0691062110 9780691062112
OCLC Number: 1030435143
Description: viii, 218 p. port. 23 cm.
Contents: Introduction. Ut pictura poesis and the nature of Spenser's imagery --
Toward a theory of pictorialism --
Description and pictorialism : focusing. The nature of description --
A mode of pictorialism : focusing --
Descriptive or pictorial? --
The visual field : framing. The nature of framing --
Emblems in poetry --
Some framed images --
Larger sights : scanning. Medieval and renaissance forms --
The nature of scanning --
Approaching Lucifera --
Interior space in the Cave of Mammon --
Pictorial vision in the poetry of Spenser. The earlier poems : emblems and icons --
Pictorialism in the minor poems --
Illusion in the Bowre of Blisse.
Responsibility: by John B. Bender.
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Abstract:

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 poses, grounded in his analysis of Spenser, "the painter of poets," discriminates between the descriptive and the pictorial in poetry. In elaborating his theory, Mr. Bender examines in detail major segments of The Faerie Queene and the minor poems, considers Spenser's extensive imitation of Ariosto and Tasso, and compares his use of visual materials with that of Chaucer, Shakespeare, Milton, Keats, and Flaubert. The poet, he shows, uses word-painting to create, not merely a visual or decorative image, but a sophisticated psychological effect: Spenser's language leads the reader's imagination far beyond anything he may see in the real world to the writer's world which, though illusory, is convincing."--Jacket.

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