Share You would have thought that Western society might have grown out of the habit of portraying powerful women as witches, but a trope that usually ended badly for women in the Middle Ages is still being used in the 21st century. Witches have featured in fairy tales and fiction for centuries. In her earliest incarnations, the witch served as a warning. Stories about the witch-as-hag demonised and punished women for attempting to exert power outside the bounds of the domestic sphere.
Literature and Art in England and Germany, ed. Adapted for hypertext by Melissa J. Formally speaking, ekphrasis is any description which brings a person, place, or thing vividly before the mind's eye.
For our purposes, ekphrasis can be understood as a means of citing one work of art within another, in Leo Spitzer's terms a way of reproducing "through the medium of words [ By Jordain"the period witnessed a steady industry in ekphrasis.
To a Lady" During the eighteenth century, it became increasingly common for male poets to write poems celebrating portraits of beautiful women. Thomas Tickell's "On a Lady's Picture"  stands as a typical example of a form which was devoted to a laudatory inspection and cataloguing of female accoutrements.
Towards the latter half of the century, poems on portraits began to appear more and more frequently in the fashionable collections of fugitive poetry and in the popular magazines of the day--particularly Gentleman's, Universal, and London.
In noting the beauty of the feminine image, however, the poets often use the metaphor of ravishment, and perhaps more significantly, muteness, to describe their own condition. While the portrait "breathes" life, the viewer stands breathless, paralyzed by the sublimity of the image. A kind of aesthetic osmosis occurs whereby the material qualities of the representation are transferred to the awestruck observer, who becomes powerless and inert, himself a kind of spectacle.
The poet's challenge in these ekphrases is therefore to walk a fine line between making the image speak in Hagstrum's termsand avoiding the loss of speech himself. He must elude the fate of the University Prize poems--a passive, purely metonymic description of the object--and yet also devise a way of being sufficiently in control of his own imagination and language so as to enter fully into the image.
He must translate its beauties into words without compromising the boundaries of his own fragile selfhood. Holland's translation of Pliny's "On the Picture of Medea", published in the Gentleman's Magazine for April,is a good example of this reliance on external elements: When the great master all his art combin'd To paint the tumults of Medea's mind; Her inward struggles, swelling into view, Beneath the magic of his pencil grew, Behold the vivid lines distinctly glow, Stamp'd with a double character of woe.
Dark is the frown that clouds her gather'd brow, But bright the tear which trembles from below. Parental pity in that glist'ring tear, In that black frown a thousand threats appear.
Each look is pregnant with an offspring's fate, Now life in love, now death is doom'd in hate.
But here the skillful artist drew a veil O'er the dire sequel of the dreadful tale; Else had we seen a parent's hand embrued, Suffice the horrid thought, in filial blood-- His fault'ring touch confess'd a finer soul, Nor stain'd the canvas with a deed so foul.
Holland's view of the picture, mediated in the first instance by Pliny, is further off-set by the illusion that the artist himself stands close by, benevolently watching over our shoulder.
Though the poem is entitled, "On the Picture of Medea", the opening lines concern "the great master" and emphasize his artistic and mimetic powers. The implication is that Medea's image remains dangerous even in paint, and should be sequestered. Holland must take steps to discharge her threatening power by making the artist as well as the process of translation part of the dynamics of perception.
His pencil may contain "magic", but it is a magic that knows its limitations. As important to the picture as the myth is the delicate choice of a moment in the plot directly preceding its climactic bloodbath; indeed, the artist's discretion is as crucial to the poem as his imaginative powers, for in the end he "draws the veil" over subsequent events.
At work in this ekphrasis is a subconscious interest in decorum and restraint, and a corresponding leeriness about aesthetic identification. Even as the artist discreetly refuses to portray the "dire sequel of the dreadful tale", the poet finds no difficulty in doing just this.
He goes on to sum up Medea's fate in a sanguine little couplet, made even more mischievously dramatic by caesura and dash: Whereas the poet completes the myth without breaching decorum, the painter will "stain" the canvas if he chooses to depict it.
For the painter, the deed and its portrayal become synonymous crimes.Lolita is a novel written by Russian American novelist Vladimir Nabokov. The novel is notable for its controversial subject: the protagonist and unreliable narrator, a middle-aged literature professor under the pseudonym Humbert Humbert is obsessed with a year-old girl, Dolores Haze, with whom he becomes sexually involved after he.
Sep 02, · The Blind Assassin, was an exception for one of the readers. He dropped the page tomb again and again on his unsuspecting face, rousing himself from a newly established slumber. He dropped the page tomb again and again on his unsuspecting face, rousing himself from a newly established slumber.
The killer of these unfortunate women in London at the end of the nineteenth century has captured the imagination as no other ever has, becoming one of the most written about, most speculated about, most thoroughly investigated of all time.
He was a white male, single, in his mid to late twenties of average intelligence. the authority. Founded in , Princeton University Press is an independent publisher with close connections, both formal and informal, to Princeton University. Our fundamental mission is to disseminate scholarship (through print and digital media) both within academia and to society at large.
Kelly Hurley describes such deviant bodies as that of Patchwork Girl as representative of the gothic genre’s obsession with the “abhuman.” “The abhuman subject is a not-quite-human subject characterized by its morphic variability, continually in danger of becoming not-itself, becoming other” (3 .
A well-established commercial genre, including role-playing games, nowadays concentrates on nostalgic reruns of the Second World War, sometimes adding dragons and warlocks to the mix. These are essentially variants of typical escapist/nostalgic science fiction which manage to keep everything exactly the same apart from some modifications to the.