東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

FindBook

Google Book

Amazon

博客來

The Fluent Image : = Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Fluent Image :/
其他題名:	Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.
作者:	Snyder, William C.
面頁冊數:	1 online resource (206 pages)
附註:	Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
Contained By:	Dissertations Abstracts International45-07A.
標題:	British and Irish literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8417570click for full text (PQDT)
ISBN:	9798205090261

The Fluent Image : = Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.
Snyder, William C.

The Fluent Image :Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters. - 1 online resource (206 pages)

Source: Dissertations Abstracts International, Volume: 45-07, Section: A.

Thesis (Ph.D.)--West Virginia University, 1984.

Includes bibliographical references

Looking at how the artist sees, rather than studying what he believes, we find in the early nineteenth century evidence that sensuous and dynamic perception is a basis for the creation of art. Wordsworth was conscious of this point, and when he depends on his eye, rather than on his heart or soul, he offers an imagery of fluency and sensation that parallels artistic images in the work of English Romantic painters John Constable and Joseph Mallord William Turner, and in the work of some French Impressionists, especially Claude Monet. Wordsworth, Constable, Turner and Monet are linked because each of these artists, despite the difference of medium, asks the same aesthetic question: "How do I see the object?" This study examines those passages in which Wordsworth perceives in a manner strikingly similar to that of the Romantic and Impressionist painter. In some of Wordsworth's descriptions of nature in and after Lyrical Ballads, there is a dynamism and fluency of imagery having affinities to the landscapes of Constable, Turner and Monet. Four critical axes are used to determine specifically where parallels exist between Wordsworth and the landscape painters: perceptual liveliness, sensuous apprehension, reconciliation of subject (perceiver) and object, and visual (with emphasis on chromatic) effects. The methodology includes tracing Wordsworth's change in aesthetic values, contrasting his earlier imagery against his mature imagery, analyzing those images that express the principles of the "art of sensation," and pointing out where such poetic images have visual analogues in the painting of Constable, Turner and Monet. A Wordsworthian passage describing a particular perceptual experience is compared to the artistic effect in one (or sometimes several) of 24 illustrations appearing in one section of the dissertation. The thesis is best described as a classification analysis that compares work of art to work of art--emphasizing similarities in artistic perception between Wordsworth and the painters. My primary goal is to contribute to English Romantic scholarship a reading of Wordsworth as a pictorial poet whose imagery occasionally bears resemblance to the approach and techniques of some nineteenth century landscape painters.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798205090261Subjects--Topical Terms:

3433225
British and Irish literature.
Index Terms--Genre/Form:

542853
Electronic books.

The Fluent Image : = Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.
LDR:03476nmm a2200313K 4500 001 2359130
005 20230906055322.5
006 m o d
007 cr mn ---uuuuu
008 241011s1984 xx obm 000 0 eng d
020 $a 9798205090261
035 $a (MiAaPQ)AAI8417570
035 $a AAI8417570
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Snyder, William C. $3 3699713
245 1 4 $a The Fluent Image : $b Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.
264 0 $c 1984
300 $a 1 online resource (206 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--West Virginia University, 1984.
504 $a Includes bibliographical references
520 $a Looking at how the artist sees, rather than studying what he believes, we find in the early nineteenth century evidence that sensuous and dynamic perception is a basis for the creation of art. Wordsworth was conscious of this point, and when he depends on his eye, rather than on his heart or soul, he offers an imagery of fluency and sensation that parallels artistic images in the work of English Romantic painters John Constable and Joseph Mallord William Turner, and in the work of some French Impressionists, especially Claude Monet. Wordsworth, Constable, Turner and Monet are linked because each of these artists, despite the difference of medium, asks the same aesthetic question: "How do I see the object?" This study examines those passages in which Wordsworth perceives in a manner strikingly similar to that of the Romantic and Impressionist painter. In some of Wordsworth's descriptions of nature in and after Lyrical Ballads, there is a dynamism and fluency of imagery having affinities to the landscapes of Constable, Turner and Monet. Four critical axes are used to determine specifically where parallels exist between Wordsworth and the landscape painters: perceptual liveliness, sensuous apprehension, reconciliation of subject (perceiver) and object, and visual (with emphasis on chromatic) effects. The methodology includes tracing Wordsworth's change in aesthetic values, contrasting his earlier imagery against his mature imagery, analyzing those images that express the principles of the "art of sensation," and pointing out where such poetic images have visual analogues in the painting of Constable, Turner and Monet. A Wordsworthian passage describing a particular perceptual experience is compared to the artistic effect in one (or sometimes several) of 24 illustrations appearing in one section of the dissertation. The thesis is best described as a classification analysis that compares work of art to work of art--emphasizing similarities in artistic perception between Wordsworth and the painters. My primary goal is to contribute to English Romantic scholarship a reading of Wordsworth as a pictorial poet whose imagery occasionally bears resemblance to the approach and techniques of some nineteenth century landscape painters.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a British and Irish literature. $3 3433225
650 4 $a British & Irish literature. $3 3284317
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0593
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a West Virginia University. $3 1017532
773 0 $t Dissertations Abstracts International $g 45-07A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8417570 $z click for full text (PQDT)