Shakespeares Spiral aims to explore a figure forgotten in the dramatic texts of Shakespeare and in Renaissance painting: the snail. Taking as its point of departure the emergence of the gastropod object/subject in the text of King Lear as well as its iconic interface in Giovanni Bellinis painting Allegory of Falsehood (circa 1490); this study sets out to follow the particular path traced by the snail throughout the Iuvre. From the central scene in which the metaphor of the snail and of its shell is specifically made manifest when Lear discovers; in a raging storm; the spectacle of Edgar disguised as Poor Tom coming out of his shelter (III.3.6-9) to the monster; this fiend; displaying on the cliffs of Dover; horms whelked and waved like the enridg_d sea (IV.6.71); this work is the trace of a narrative - of a journey of the gaze - during the course of which the cryptic question of the gastropod - Why a Snail [_]? (I.5.26) - does not cease to be developed and transformed. Incorporating a wide-ranging post-structuralist critique; the study aims to bring to light the particular functions of this revealing detail in both its textual and visual dimension so as to put forward a new and innovatory understanding of the tragedy of King Lear.
#2202257 in eBooks 2012-11-25 2012-11-25File Name: B009SY3UDS
Review
0 of 0 people found the following review helpful. Five StarsBy JJBrilliant. short. hard to put down0 of 0 people found the following review helpful. A strange. enigmatic book of unparalleled beauty and insight ...By Bill BlazajowskiA strange. enigmatic book of unparalleled beauty and insight. Wartime Kiss provides readers exclusive access to the 1940s through Nemerovs own sensitive engagement with photographs and film stills from the period. He investigates artifacts that appear to represent only a mere cross-section of the era. but his analysis opens avenues to the atmosphere of the entire decade. No longer entirely barred to us. we enter a hybrid form of nostalgia and outright time travel. They may not be our moments. but Nemerov fine-tunes representations of them in such a way that we become an uncanny amalgam of both viewer and participant. This book redefines what it means to read art history.
