The relation between screen culture and imagery in Alfred Lord Tennyson’s poem “The Lady of Shalott” as well as in Pre-Raphaelite illustrations and paintings to the poem are analyzed in the article. ...The image of Lady depicts the total dependence on a magical “screen”, which, in itself, is a mirror. The author draws attention to the fact that a fairy behaves like a dependent human being, a passive perceiving individual, more typical for the mass media era. The works by Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, which transmit the poem’s episodes and consider to different extents the image of a mirror similar to a screen are studied. The author also analyzes Henry Peach Robinson’s staged photography “The Lady of Shalott” which resembles closely a black-and-white film frame. The Pre-Raphaelite illustrations and paintings are in some ways more traditional than the images in Tennyson’s poem. The image of the mirror fades into insignificance. Only in Hunt’s drawings and paintings we can see this magiс object clearly. However, the threads of a tapestry wound around the Lady’s body in the paintings by Hunt and John William Waterhouse present the most successful visual image associated with the poem. Illustrations with the predominance of female figures and disregard for Lancelot’s image highlight the connection between the pre-screen motifs with the theme of female self-affirmation and crisis of romantic masculinity. В статье анализируются взаимосвязи экранной культуры с образами поэмы Альфреда Теннисона «Леди из Шалотт», а также иллюстрациями и картинами прерафаэлитов к поэме. Образ героини воплощает собой тотальную зависимость от магического «экрана», каким, по сути, является зеркало. Автор обращает внимание на то, что героиня-волшебница ведет себя как исключительно зависимая персона, пассивный воспринимающий индивид, типичный, скорее, для эпохи доминирования массмедиа. В финале умирающая героиня садится в лодку и «отправляет» себя в большой мир как послание, имеющее название-имя, начертанное на борту ладьи. В статье проанализированы иллюстрации и картины художников-прерафаэлитов Данте Габриэля Россетти, Джона Эверетта Миллеса, Уильяма Холмана Ханта, транслирующие эпизоды поэмы, в разной степени учитывающие образ зеркала. Большое внимание уделено Генри Пичу Робинсону, испытавшему влияние прерафаэлитов и создавшему постановочную фотографию «Леди из Шалотт», напоминающую кадр чёрно-белого фильма. Иллюстрации же и картины прерафаэлитов в чем-то гораздо более традиционны, нежели образы поэмы Теннисона. Образ зеркала в иллюстрациях отходит на второй план. Только на рисунках и полотнах Ханта мы можем хорошо рассмотреть этот магический предмет. А вот нити распустившегося гобелена, опутавшие леди на картинах Ханта и Джона Уильяма Уотерхауза — наиболее удавшийся живописцам визуальный образ, связанный с поэмой. Иллюстрации, ставящие в центр женский образ и почти игнорирующие образ Ланселота, подчеркивают взаимосвязь предэкранных мотивов с темой женского самоутверждения и кризиса романтической маскулинности.
Since the 1980s, John Everett Millais’s emblematic oil painting, Ophelia (1851–1852) has been remarkably framed by feminist discourses on gender that convincingly demonstrated how the representation ...of female death could be linked to patriarchal tradition whose underlying discourse was to tame, control and ultimately objectify women. More recently, further investigation of the Shakespearean character as it resurfaced in literature, film and cinema has brought to light the inherent contradictions relating to her very nature: the more Ophelia is represented and made visible in literature and the arts, the more she seems to be vanishing. Starting with the emblematic Pre-Raphaelite painting, this article aims to establish a critical dialogue between works of various periods and various media, ranging from the Victorian era to the present day to demonstrate the mutations and persistence of Millais’s icon.
The article examines two female images by A. Tennyson, the Lady of Shalott and Godiva from the eponymous poems, through the prism of biblical and iconographic allusions. The former (Shalott) alludes ...to the plot and iconography of The Annunciation, the latter (Godiva)-to the motifs of The Old Testament and The Apocalypse. Picturesque paintings by the Pre-Raphaelites, among which were a number of those related to these Tennyson plots, provide even more reassurance with regard to the significance of biblical plots and iconographic canons in the specified Tennyson's works. Sufferings, fatalism, sensuousness, antinomicity, picturesqueness-all this made the Tennyson female images magnetic to Russian Modernist writers, the images which were in harmony with the spirit of the turn of the twentieth century. K. Balmont and I. Bunin in their translations of the Tennyson's poems made their own interpretations of the images of the Lady of Shalott and Godiva, accentuating (and even adding) details and nuances of meanings important for symbolist aesthetics.
Despite the Pre-Raphaelites' reputation for representing the natural world with "microscopic" intensity, their interest in nature is not primarily scientific or botanical; they do not seek to make ...discoveries about cellular structure or the cultivation of plant species but rather to discover in the natural world "truths" about human nature and the artistic imagination.6 I will argue that Pre-Raphaelite portrayals of enclosed gardens celebrate interiority, subjectivity, and generative consciousness, privileging the mind over nature. ...aesthetic perception, far from being a passive reception of impressions from nature, was proving a volatile and ever-changing process, determined more from within than without" (p. 8). The first, "Thrice-blessed they that master so their blood / To undergo such maiden pilgrimage," is from Shakespeare's A Midsummer Night's Dream, when Theseus decrees that Hermia must choose between marriage and the convent.38 Though Theseus's speech in its entirety is a finely poised debate between the competing merits of celibacy and "natural" biological destiny, in the quotation Collins chooses for his painting, the king suggests that celibacy makes maidens masters. According to John Dixon Hunt, the word paradise comes from the "Old Persian pairidaeza (from pairi around and daeza wall); hellenized as paradeisos, this effectively introduced the word paradise, meaning a wonderfully enclosed ground, into several modern languages."
The Pre-Raphaelites Boos, Florence S
Victorian poetry,
09/2018, Letnik:
56, Številka:
3
Journal Article
Recenzirano
Though in general Graham admires her subjects, hers is also a tale of decay: “My aim is to capture the PRB’s revolutionary provocations before the PRB became the victims of their own success” (p. ...vii); to this end, her account features Dante Rossetti, Simeon Solomon, and Algernon Swinburne rather than the less controversial members of the Pre-Raphaelite circle. Since Graham’s purview is reception and celebrity rather than literary content, she details the competing factions that responded to Pre-Raphaelite art and the lives and idiosyncrasies of its featured personages. ...she derives a conclusion as dismissive as those she deprecates in prior critics: “Self-destructive, hypochondriacal, paranoid, veering wildly from feelings of impotence to omnipotence, the narcissist’s ‘ultimate defense against annihilation anxiety,’ Rossetti withdrew into ‘an insular studio space that is a world unto itself’ and locked the door” (p. 174). Arrestingly, Aldeman suggests that “Rossetti’s poem puts together the repeatedly and conventionally commercial patterns of thought of its speaker in order to cumulatively raise the possibility of their inappropriateness, and inaccuracy” (p. 213). ...he finds that the poem’s ending, in which the speaker acknowledges a common humanity with Jenny, casts both figures as “equals of a fundamentally identical shared existence,” reflecting Ruskin’s insight that rich and poor must meet together under the lights of the “golden sun and silver moon” (p. 215). ...David and Sheila Latham’s biannual “William Morris: An Annotated Bibliography 2014–2015” (JWMS 22, no. 3) provides a comprehensive review of available materials on each aspect of the latter’s work.
Abstract
This essay examines the multiplicity of ways the building and decoration of the American church of St. Paul's Within-the-Walls in Rome signaled the dawning of a "new age," politically and ...spiritually, as the first Protestant church constructed within the city of Rome, initiated immediately after the city was freed from papal rule in 1870. The mosaics, designed by Pre-Raphaelite artist Edward Burne-Jones and completed with the help of his assistant Thomas Rooke in the decades that follow, present Christ, and the Church in particular, as sources of divine sustenance and verdant life in the barren wilderness of this world. But it is the splendor of their design and the material magnificence of the mosaics themselves that create the first powerful and most lasting impact. Viewed through the lens of what P. T. Forsyth described as the "preternatural imagination" of Burne-Jones, these mosaics are distinctly contemporary works deeply rooted in religious and artistic tradition that address the transitional times for which they were made.
Arthur Hugh Clough, Amours de Voyage Writing to the Irish poet and ballad anthologist William Allingham in the summer of 1855, Dante Gabriel Rossetti explained that he was underwhelmed by the ...former's poem, "The Music Master," as it lacked the enticements he expected of ballads: One can only speak of one's own needs & cravings: & I must confess a need, in narrative dramatic poetry . . . of something rather "exciting," & indeed I believe something of the "romantic" element, to rouse my mind to anything like the moods produced by personal emotion in my own life. The ballad's prominence as cultural form has been given considerable attention, though recent work has focused primarily on antiquarianism, popular balladry, or the ballad's significance within print culture and romantic nationalism.3 Turning to the relatively neglected form of the literary ballad, I am interested less in specifying what this genre was than in exploring what we might call the historical aesthetics of genre-the kinds of feelings and judgments that get attached to a given genre and their role in its style, rhetoric, and form.4 What language did nineteenth-century readers use to distinguish their impressions of poetic genres, and what relationship can we see in this language between aesthetic judgment and poetic form?
Iconic signs such as paintings, engravings or book illustrations come into existence as a result of visual attempts at redefining the literary text to which they refer. Although they belong to a ...different medium, they are always conditioned and influenced by the original literary work. English painting displays a series of famous images which explicitly have their roots in literary texts. While the works of Shakespeare, Keats and Tennyson seem to determine a special connection with painting, Shakespeare’s plays are the source of one of the most inspiring subjects of the Pre-Raphaelite painters: women.
PDF
