The Subtext of Form in the English Renaissance: Proportion PoeticalPennsylvania State University Press, 1994 - 214页 During the sixteenth century in England the logocentrism of the Middle Ages was confronted by a materialism that heralded the modern world. With remarkable tenacity in music, poetry, and painting, the orthodox aesthetic persisted as formal features which served as nonverbal signs and provided a subtext of form. In opposition, however, a radical aesthetic emerged to accommodate the new attention to physical nature. The growing force of materialism occasioned a fundamental rethinking of what an artifact might represent and how that representation might be achieved. This book explores the ontological and epistemological issues that poststructuralist thought raises about that shift in our cultural history. In doing so, it charts a course for Renaissance studies, now in disarray, that avoids the old positivism while not succumbing to the new nihilism. |
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... signified and signifier , or at least the strange separation of their ' parallelism , ' and the exteriority , however extenuated , of the one to the other . " On the one hand , the logos rigorously controls language , being ...
... signified . The trace then serves as vestigial evidence that a transcendental signified does not exist : “ The trace is in fact the absolute origin of sense in general . Which amounts to saying once again that there is no absolute ...
... signified resists exactness . Indeed , when the originary tale is brought to bear upon Vulcan's lameness , it evokes sympathy and perhaps admiration . The disjunction between signified and signifier is widened even further in the next ...