Shelley as Visual Artist: Doodles, Sketches, Ink Blots, and the Critical Reception of the Visual

IF 0.4 3区 文学 0 LITERATURE
G. Allen
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引用次数: 0

Abstract

Abstract:This paper seeks to incorporate the visual elements of P.B. Shelley’s manuscripts into our interpretation of his works. Shelley criticism is currently overly dependent for its method, the paper argues, on the final intention methodology used by the current generation of scholarly editors of Shelley’s work. While the final intention model is an obvious one for editors to employ, I argue that we need a more inclusive critical methodology when it comes to Shelley’s often complex manuscripts. Using various examples, including discussion of “Ozymandius” and “The Triumph of Life,” the paper questions traditional presuppositions concerning the aesthetics of doddles, scribbles, sketches and apparent accidents such as ink blots.
雪莱作为视觉艺术家:涂鸦、素描、墨迹与视觉的批判性接受
摘要:本文试图将P·B·雪莱手稿中的视觉元素融入我们对其作品的解读中。该论文认为,雪莱的批评目前过于依赖于其方法,即当前一代学术编辑对雪莱作品使用的最终意图方法。虽然最终意图模型对编辑来说是一个显而易见的模型,但我认为,当涉及到雪莱经常复杂的手稿时,我们需要一种更具包容性的批评方法。通过各种例子,包括对《Ozymandius》和《生命的胜利》的讨论,本文质疑了关于涂鸦、涂鸦、素描和墨迹等明显事故的美学的传统预设。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
36
期刊介绍: Studies in Romanticism was founded in 1961 by David Bonnell Green at a time when it was still possible to wonder whether "romanticism" was a term worth theorizing (as Morse Peckham deliberated in the first essay of the first number). It seemed that it was, and, ever since, SiR (as it is known to abbreviation) has flourished under a fine succession of editors: Edwin Silverman, W. H. Stevenson, Charles Stone III, Michael Cooke, Morton Palet, and (continuously since 1978) David Wagenknecht. There are other fine journals in which scholars of romanticism feel it necessary to appear - and over the years there are a few important scholars of the period who have not been represented there by important work.
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