LEADER 04100nam 2200673 450 001 9910451978003321 005 20200520144314.0 010 $a1-4426-9614-1 024 7 $a10.3138/9781442696143 035 $a(CKB)2550000000100908 035 $a(OCoLC)794619907 035 $a(CaPaEBR)ebrary10560445 035 $a(SSID)ssj0000655640 035 $a(PQKBManifestationID)12262252 035 $a(PQKBTitleCode)TC0000655640 035 $a(PQKBWorkID)10631342 035 $a(PQKB)11742670 035 $a(CEL)438750 035 $a(CaBNVSL)slc00228884 035 $a(MiAaPQ)EBC3280037 035 $a(MiAaPQ)EBC4672870 035 $a(DE-B1597)483218 035 $a(OCoLC)1004868246 035 $a(DE-B1597)9781442696143 035 $a(Au-PeEL)EBL4672870 035 $a(CaPaEBR)ebr11258521 035 $a(EXLCZ)992550000000100908 100 $a20160923h20122012 uy 0 101 0 $aeng 135 $aurcn||||||a|| 181 $ctxt 182 $cc 183 $acr 200 14$aThe emblematics of the self $eekphrasis and identity in Renaissance imitations of Greek romance /$fElizabeth B. Bearden 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2012. 210 4$dİ2012 215 $a1 online resource (273 p.) 311 0 $a1-4426-4346-3 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tList of Illustrations --$tAcknowledgments --$tNote on Editions, Translations, and Abbreviations --$tIntroduction --$t1. The Romance Globe: Why the Renaissance Repainted Greek Romance --$t2. Converso Convertida: Cross-Dressed Narration and Ekphrastic Interpretation in Leucippe and Clitophon and Clareo y Florisea --$t3. Amazon Eyes and Shifting Emblems in Sidney's Greek Arcadia --$t4. Painting Counterfeit Canvases: Heliodoran Pictographs, American Lienzos, and European Imaginings of the Barbarian in Cervantes's Persiles --$t5. Pictura Locorum: Heliodoran Hieroglyphs and Anglo-African Identity in Barclay's Argenis --$t6. 'We are all picturd in that Piece': Lovers, Persians, Tartars, and the 'Tottering' Romance Globe in Lady Mary Wroth's Urania --$tConclusions --$tNotes --$tWorks Cited --$tIndex 330 $aThe ancient Greek romances of Achilles Tatius and Heliodorus were widely imitated by early modern writers such as Miguel de Cervantes, Philip Sidney, and Mary Wroth. Like their Greek models, Renaissance romances used ekphrasis, or verbal descriptions of visual representation, as a tool for characterization. The Emblematics of the Self shows how the women, foreigners, and non-Christians of these tales reveal their identities and desires in their responses to the 'verbal pictures' of romance. Elizabeth B. Bearden illuminates how 'verbal pictures' enliven characterization in English, Spanish, and Neolatin romances from 1552 to 1621. She notes the capacity for change among characters - such as cross-dressed Amazons, shepherdish princesses, and white Mauritanians - who traverse transnational cultural and aesthetic environments. Engaging and rigorous, The Emblematics of the Self breaks new ground in understanding hegemonic and cosmopolitan European conceptions of the 'other,' as well as new possibilities for early modern identities, in an increasingly global Renaissance. 606 $aEuropean literature$yRenaissance, 1450-1600$xHistory and criticism 606 $aEuropean literature$yRenaissance, 1450-1600$xGreek influences 606 $aIdentity (Philosophical concept) in literature 606 $aEkphrasis 608 $aElectronic books. 615 0$aEuropean literature$xHistory and criticism. 615 0$aEuropean literature$xGreek influences. 615 0$aIdentity (Philosophical concept) in literature. 615 0$aEkphrasis. 676 $a809.031 700 $aBearden$b Elizabeth B.$f1975-$0919312 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910451978003321 996 $aThe emblematics of the self$92061827 997 $aUNINA