9780804728089 - The Mottled Screen: Reading Proust Visually de Bal, Mieke (25 resultados)

paperback. Condición: Very Good. Open Books is a nonprofit social venture that provides literacy experiences for thousands of readers each year through inspiring programs and creative capitalization of books.

paperback. Condición: Good.

paperback. Condición: Very Good. The Mottled Screen: Reading Proust Visually This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping.

paperback. Condición: Very Good. This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping.

Paperback. Condición: VG. Estado de la sobrecubierta: No Dust Jacket. Paperback with scant wear. Spine uncreased; pages tight, clean. Not library discard. ;

Paperback. Condición: Near Fine. Large 8vo 9" - 10" tall; 301 pages; 1997 Stanford University Press. Larger trade size paperback in glossy pictorial covers. Tight, bright and fresh. Feels and appears unread with just trace shelf evidence to cover edges. No marks. NF.

Condición: New.

Paperback. Condición: New. The clear-cut distinction between texts (literature) and images (art) has been challenged by a culture saturated with television and by an increased emphasis on interdisciplinary studies. From the viewpoint of our present culture, the author suggests, we can now see how some of the great writers and artists of the past overstepped the boundaries of the media in which they worked. The Mottled Screen studies as an example of this process a great literary work that cannot be confined to language alone, even though it consists exclusively of words: Proust's Remembrance of Things Past. The author of Reading Rembrandt: Beyond the Word-Image Opposition, a widely acclaimed study of Rembrandt's discursive, rhetorical, and narrative painting, now offers a symmetrical counterpart to that study with this sustained "visual" reading of Proust's masterpiece, pointing out its visual strategies of representation, fantasy, and poetic thought. She focuses on the narrative and descriptive passages, examining how they make us "see," arguing that this visual writing is by no means a derivative writing that uses visual imagery as an inspiration or model. Instead, it is the writing of a true vision. Beginning with the attempts to emulate painting, the book develops a Proust à la Chardin, working around Chardin's painting The Skate, but only after first reading Chardin through Proust. Viewing a Chardin with anxieties and emulation, Proust writes in Chardin's mood when he sets up the mottled screen as the metaphor of reading. Chardin's appeal to a wavering, roving eye is matched by Proust's uncertain perceptions, and the nervous quality of The Skate is matched by the famous passages recording Proust's disgust at the debris of the breakfast table. The second part of the book is devoted to Proust's use of optical instruments-such as the magnifying glass, the eyeglass, the telescope-to produce or enhance the visions that constitute the raw material of his poetic imagination. These optical instruments guide the probing of the paradoxes of seeing close-up or at a distance, the latter flattening out, the former blinding. The final part reads the specifically "photographic" writing that permeates Remembrance as a highly original and astonishing contemporary, almost postmodern, poetics. The photographic shows in the way Proust's narrator frames what he sees, contrasts light and dark, zooms in and out, and represents "contact sheets" of snapshots rapidly taken so as to capture the most fleeting sensations and visions.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,550grams, ISBN:9780804728089.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: As New. Unread book in perfect condition.

OKart. (geringe Läsuren). 284 S., 1 Bl. Gutes, sauberes Exemplar aus der Bibliothek Prof. Dr. Willibald Sauerländer, mit deren Stempel. Sprache: Englisch Gewicht in Gramm: 700.

Condición: New. 1997. Illustrated. Paperback. . . . . .

Condición: New.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: Very good.

Paperback. Condición: Brand New. 1st edition. 300 pages. 9.25x6.25x0.75 inches. In Stock.

Paperback. Condición: Brand New. 1st edition. 300 pages. 9.25x6.25x0.75 inches. In Stock.

Condición: As New. Unread book in perfect condition.

Condición: New. 1997. Illustrated. Paperback. . . . . . Books ship from the US and Ireland.

Paperback. Condición: New. The clear-cut distinction between texts (literature) and images (art) has been challenged by a culture saturated with television and by an increased emphasis on interdisciplinary studies. From the viewpoint of our present culture, the author suggests, we can now see how some of the great writers and artists of the past overstepped the boundaries of the media in which they worked. The Mottled Screen studies as an example of this process a great literary work that cannot be confined to language alone, even though it consists exclusively of words: Proust's Remembrance of Things Past. The author of Reading Rembrandt: Beyond the Word-Image Opposition, a widely acclaimed study of Rembrandt's discursive, rhetorical, and narrative painting, now offers a symmetrical counterpart to that study with this sustained "visual" reading of Proust's masterpiece, pointing out its visual strategies of representation, fantasy, and poetic thought. She focuses on the narrative and descriptive passages, examining how they make us "see," arguing that this visual writing is by no means a derivative writing that uses visual imagery as an inspiration or model. Instead, it is the writing of a true vision. Beginning with the attempts to emulate painting, the book develops a Proust à la Chardin, working around Chardin's painting The Skate, but only after first reading Chardin through Proust. Viewing a Chardin with anxieties and emulation, Proust writes in Chardin's mood when he sets up the mottled screen as the metaphor of reading. Chardin's appeal to a wavering, roving eye is matched by Proust's uncertain perceptions, and the nervous quality of The Skate is matched by the famous passages recording Proust's disgust at the debris of the breakfast table. The second part of the book is devoted to Proust's use of optical instruments-such as the magnifying glass, the eyeglass, the telescope-to produce or enhance the visions that constitute the raw material of his poetic imagination. These optical instruments guide the probing of the paradoxes of seeing close-up or at a distance, the latter flattening out, the former blinding. The final part reads the specifically "photographic" writing that permeates Remembrance as a highly original and astonishing contemporary, almost postmodern, poetics. The photographic shows in the way Proust's narrator frames what he sees, contrasts light and dark, zooms in and out, and represents "contact sheets" of snapshots rapidly taken so as to capture the most fleeting sensations and visions.

Condición: New. The author challenges the view that literary texts cannot be examined by words alone, arguing that images also play a role in the interpretation process.&Uumlber den AutorrnrnMieke Bal is Director of the Amsterdam School for Cultural Analys.

Taschenbuch. Condición: Neu. Neuware - The clear-cut distinction between texts (literature) and images (art) has been challenged by a culture saturated with television and by an increased emphasis on interdisciplinary studies. From the viewpoint of our present culture, the author suggests, we can now see how some of the great writers and artists of the past overstepped the boundaries of the media in which they worked. The Mottled Screen studies as an example of this process a great literary work that cannot be confined to language alone, even though it consists exclusively of words: Proust's Remembrance of Things Past.

Paperback / softback. Condición: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Paperback. Condición: new. Paperback. The clear-cut distinction between texts (literature) and images (art) has been challenged by a culture saturated with television and by an increased emphasis on interdisciplinary studies. From the viewpoint of our present culture, the author suggests, we can now see how some of the great writers and artists of the past overstepped the boundaries of the media in which they worked. "The Mottled Screen" studies as an example of this process a great literary work that cannot be confined to language alone, even though it consists exclusively of words: Proust's "Remembrance of Things Past." The author of "Reading Rembrandt: Beyond the Word-Image Opposition," a widely acclaimed study of Rembrandt's discursive, rhetorical, and narrative painting, now offers a symmetrical counterpart to that study with this sustained "visual" reading of Proust's masterpiece, pointing out its visual strategies of representation, fantasy, and poetic thought. She focuses on the narrative and descriptive passages, examining how they make us "see," arguing that this visual writing is by no means a derivative writing that uses visual imagery as an inspiration or model. Instead, it is the writing of a true vision. Beginning with the attempts to emulate painting, the book develops a Proust a la Chardin, working around Chardin's painting "The Skate," but only after first reading Chardin through Proust. Viewing a Chardin with anxieties and emulation, Proust writes in Chardin's mood when he sets up the mottled screen as the metaphor of reading. Chardin's appeal to a wavering, roving eye is matched by Proust's uncertain perceptions, and the nervous quality of "The Skate" is matched by the famous passages recording Proust's disgust at the debris of the breakfast table. The second part of the book is devoted to Proust's use of optical instruments—such as the magnifying glass, the eyeglass, the telescope—to produce or enhance the visions that constitute the raw material of his poetic imagination. These optical instruments guide the probing of the paradoxes of seeing close-up or at a distance, the latter flattening out, the former blinding. The final part reads the specifically "photographic" writing that permeates "Remembrance" as a highly original and astonishing contemporary, almost postmodern, poetics. The photographic shows in the way Proust's narrator frames what he sees, contrasts light and dark, zooms in and out, and represents "contact sheets" of snapshots rapidly taken so as to capture the most fleeting sensations and visions. The Mottled Screen studies a great literary work that cannot be confined to language alone, even though it consists exclusively of words: Proust's Remembrance of Things Past. The author offers a sustained "visual" reading of Proust's masterpiece, pointing out its visual strategies of representation, fantasy, and poetic thought. Beginning with the attempts to emulate painting, the book develops a Proust a la Chardin, working around Chardin's painting The Skate, but only after first reading Chardin through Proust. The second part of the book is devoted to Proust's use of optical instruments - such as the magnifying glass, the eyeglass, the telescope - to produce or enhance the visions that constitute the raw material of his poetic imagination. The final part reads the specifically "photographic" writing that permeates Remembrance as a highly original and astonishingly contemporary, almost postmodern, poetics. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.