Making and unmaking in early modern English drama: Spectators, aesthetics and incompletion

Porter, Chloe

doi:10.9760/mupoa/9781847798916

Cited by 2 publications

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“…In her recent discussion of artistic 'incompletion' in early modern drama, Chloe Porter notes that 'ut pictura poesis is often linked to the transcendence of verbal/visual boundaries in the pursuit of aesthetic perfection'. 50 The concept thus returns us to the apparent paragone between Plutarch and Leonardo discussed earlier. Ut pictura poesis implies that both painting and poetry have the same end: to create representations that possess enargeia or vividness.…”

Section: Beyond the Paragonementioning

confidence: 89%

“…Scott writes that, by the end of the poem, 'the urn holds the decided advantage in the paragone and is in an ideal position to take the laurel wreath' (p. 146). However the fact that the urn appears to have a legend -a piece of text -inscribed upon it collapses the very terms of the paragone: '"Beauty is truth, truth beauty, -that is all / Ye know on earth and all ye need to know"' (49)(50). Keats's urn appears to be a hybrid artwork that contains both words and images.…”

Section: Lessing and The Paragonementioning

confidence: 99%

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Introduction: from paragone to encounter

2019

Ekphrastic Encounters

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Ekphrasis – the verbal representation of visual art – has traditionally been regarded as a form of paragone or competition between different forms of representation. The Introduction advocates a more reciprocal model of ekphrasis that involves an encounter or exchange between word and image. It outlines the ways in which the paragone has dominated critical conceptions of intermedial relationships. Ekphrastic works of various periods and styles have been read through the paradigm of the paragone that was established in the Renaissance; and yet this was not the only model available during that period. It is argued that the agonistic model was the primary means of conceptualising ekphrasis during the first ‘ekphrastic turn’ of the 1990s, and that this model has continued to be influential into the twenty-first century. However recent critics and theorists working across various disciplines and periods have started to interrogate this influential paradigm.

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Section: Beyond the Paragonementioning

confidence: 89%

Section: Lessing and The Paragonementioning

confidence: 99%