{"title":"在事实与虚构之间","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0008","DOIUrl":null,"url":null,"abstract":"Chapter 8 explores the more and less serious conditions for an artist to turn the first subject of a painting into another subject. Why did Murger make Marcel paint a Red Sea Passage as the first image in a repetitive string of so many more political and social passages of liberation? Whence came the models for Marcel? One answer, the more familiar, uses facts of art-history; the other, less familiar, turns to a literary world of fiction, to find behind Murger’s story the most Parisian tellings of the Red Sea anecdote.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"41 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Between Fact and Fiction\",\"authors\":\"Lydia D. Goehr\",\"doi\":\"10.1093/oso/9780197572443.003.0008\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Chapter 8 explores the more and less serious conditions for an artist to turn the first subject of a painting into another subject. Why did Murger make Marcel paint a Red Sea Passage as the first image in a repetitive string of so many more political and social passages of liberation? Whence came the models for Marcel? One answer, the more familiar, uses facts of art-history; the other, less familiar, turns to a literary world of fiction, to find behind Murger’s story the most Parisian tellings of the Red Sea anecdote.\",\"PeriodicalId\":62574,\"journal\":{\"name\":\"红树林\",\"volume\":\"41 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-02-17\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"红树林\",\"FirstCategoryId\":\"1089\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780197572443.003.0008\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"红树林","FirstCategoryId":"1089","ListUrlMain":"https://doi.org/10.1093/oso/9780197572443.003.0008","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Chapter 8 explores the more and less serious conditions for an artist to turn the first subject of a painting into another subject. Why did Murger make Marcel paint a Red Sea Passage as the first image in a repetitive string of so many more political and social passages of liberation? Whence came the models for Marcel? One answer, the more familiar, uses facts of art-history; the other, less familiar, turns to a literary world of fiction, to find behind Murger’s story the most Parisian tellings of the Red Sea anecdote.
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