LEADER 03727nam 2200697 a 450 001 9910462288003321 005 20200520144314.0 010 $a1-283-80432-8 010 $a1-4008-4478-9 024 7 $a10.1515/9781400844784 035 $a(CKB)2670000000276738 035 $a(EBL)1051477 035 $a(OCoLC)818734317 035 $a(SSID)ssj0000759763 035 $a(PQKBManifestationID)11966291 035 $a(PQKBTitleCode)TC0000759763 035 $a(PQKBWorkID)10800822 035 $a(PQKB)11773978 035 $a(MiAaPQ)EBC1051477 035 $a(MdBmJHUP)muse43254 035 $a(DE-B1597)453867 035 $a(OCoLC)979629666 035 $a(DE-B1597)9781400844784 035 $a(Au-PeEL)EBL1051477 035 $a(CaPaEBR)ebr10624606 035 $a(CaONFJC)MIL411682 035 $a(EXLCZ)992670000000276738 100 $a20120517d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMute poetry, speaking pictures$b[electronic resource] /$fLeonard Barkan 205 $aCourse Book 210 $aPrinceton $cPrinceton University Press$d2013 215 $a1 online resource (209 p.) 225 0 $aEssays in the arts 300 $aDescription based upon print version of record. 311 $a0-691-14183-5 320 $aIncludes bibliographical references and index. 327 $aVisible and invisible -- Apples and oranges -- Desire and loss -- The theater as a visual arrt -- Afterword. 330 $aWhy do painters sometimes wish they were poets--and why do poets sometimes wish they were painters? What happens when Rembrandt spells out Hebrew in the sky or Poussin spells out Latin on a tombstone? What happens when Virgil, Ovid, or Shakespeare suspend their plots to describe a fictitious painting? In Mute Poetry, Speaking Pictures, Leonard Barkan explores such questions as he examines the deliciously ambiguous history of the relationship between words and pictures, focusing on the period from antiquity to the Renaissance but offering insights that also have much to say about modern art and literature. The idea that a poem is like a picture has been a commonplace since at least ancient Greece, and writers and artists have frequently discussed poetry by discussing painting, and vice versa, but their efforts raise more questions than they answer. From Plutarch ("painting is mute poetry, poetry a speaking picture") to Horace ("as a picture, so a poem"), apparent clarity quickly leads to confusion about, for example, what qualities of pictures are being urged upon poets or how pictorial properties can be converted into poetical ones. The history of comparing and contrasting painting and poetry turns out to be partly a story of attempts to promote one medium at the expense of the other. At the same time, analogies between word and image have enabled writers and painters to think about and practice their craft. Ultimately, Barkan argues, this dialogue is an expression of desire: the painter longs for the rich signification of language while the poet yearns for the direct sensuousness of painting. 410 0$aEssays in the Arts 606 $aArt and literature 606 $aVisual communication 606 $aWritten communication 608 $aElectronic books. 615 0$aArt and literature. 615 0$aVisual communication. 615 0$aWritten communication. 676 $a700.1 686 $aLH 61100$2rvk 700 $aBarkan$b Leonard$0539713 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910462288003321 996 $aMute poetry, speaking pictures$92471293 997 $aUNINA LEADER 02309nam 2200469 n 450 001 996385215803316 005 20200824121342.0 035 $a(CKB)4940000000071215 035 $a(EEBO)2240910667 035 $a(UnM)99856072e 035 $a(UnM)99856072 035 $a(EXLCZ)994940000000071215 100 $a19920918d1635 uy | 101 0 $aeng 135 $aurbn||||a|bb| 200 02$aA collection of emblemes, ancient and moderne$b[electronic resource] $equickened vvith metricall illustrations, both morall and divine: and disposed into lotteries, that instruction, and good counsell, may bee furthered by an honest and pleasant recreation. By George VVither. The first booke 210 $aLondon $cPrinted by A[ugustine] M[athewes] for Henry Taunton, and are to be sold at his shop in Saint Dunstanes Church-yard$dMDCXXXV. [1635] 215 $a[20], 62, [6], 63-124, [6], 135-196, [6], 209-270, [10] p. $cill. (metal cuts, woodcut) 300 $aIn verse. 300 $aPrinter's name from STC. 300 $aThe emblems are printed from plates originally engraved by Crispijn van de Passe the elder for "Nucleus emblematorum" by Gabriel Rollenhagen (STC). 300 $aWith an additional title page, engraved, "Emblemes. Illustrated by Geo. Wither.", signed: VVill: Marshall· sculp:. 300 $aThe first leaf bears "A preposition to this frontispiece". 300 $aThe second, third, and fourth books each have a separate title page dated 1634; pagination and register are continuous. 300 $aThe last leaf bears two woodcut dials each with a movable pointer fixed in the center. 300 $aIncludes index. 300 $aOne of five imprint variants of this edition. 300 $aReproduction of the original in the Newberry Library, Chicago. Ill. 330 $aeebo-0101 606 $aEmblem books, English$vEarly works to 1800 615 0$aEmblem books, English 700 $aWither$b George$f1588-1667.$01001083 702 $aPasse$b Crispijn van de$fca. 1565-1637, 702 $aMarshall$b William$ffl. 1617-1650, 801 0$bCu-RivES 801 1$bCu-RivES 801 2$bCStRLIN 801 2$bWaOLN 906 $aBOOK 912 $a996385215803316 996 $aA collection of emblemes, ancient and moderne$92301533 997 $aUNISA LEADER 00931nam a22002531i 4500 001 991002804799707536 005 20040329150253.0 008 040624s1987 uika||||||||||||||||eng 020 $a0709932707 035 $ab12980407-39ule_inst 035 $aARCHE-093808$9ExL 040 $aDip.to Beni Culturali$bita$cA.t.i. Arché s.c.r.l. Pandora Sicilia s.r.l. 082 04$a292 245 00$aInterpretations of Greek mythology /$cedited by Jan Bremmer 260 $aLondon ;$aSidney :$bCroom Helm,$cc1987 300 $a294 p. :$bill. ;$c23 cm 650 4$aMitologia greca 700 1 $aBremmer, Jan N. 907 $a.b12980407$b02-04-14$c12-07-04 912 $a991002804799707536 945 $aLE001 AN XVI 156$g1$i2001000069415$lle001$nC. 1$o-$pE0.00$q-$rl$s- $t0$u0$v0$w0$x0$y.i13584467$z12-07-04 996 $aInterpretations of Greek mythology$9285768 997 $aUNISALENTO 998 $ale001$b12-07-04$cm$da $e-$feng$guik$h0$i1