Spectacle & Image in Renaissance Europe: Selected Papers of the XXXIInd Conference at the Centre D'Etudes Supérieures de la Renaissance de Tours, 29 June-8 July 1989 : [XXXIIe Colloque International D'Etudes Humanistes]

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André Lascombes
BRILL, 1993 - 367 Seiten
These nineteen papers focus on the 1480-1610 period in England, France and Spain, offering a range of views on the use of images to spectacular ends in institutional form or in artifacts. After a recall of what neurophysiology says about brain treatment of images and what dominant codings of image may have been in Renaissance commonalty culture, four studies examine the way propagandistic imagery operates and its various effects, from benign submission to fierce opposition. Most studies, however, review accepted or moot points regarding interpretation of plays or staging. Interestingly, even if the papers build on different premises, they come up with fairly consistent findings about theatrical coding and image reception. While the selection helps see why study of popular shows - including plays - needs be rooted in the broadest cultural context, it also illustrates how basic similitudes in the strategic use, and the impact, of images underlie superficial generic differences.
 

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Inhalt

PRÉFACE
1
image et culture ordinaire
9
EcritureSpectacle et Imago Mundi chez
32
de la Passion XVè siècle
60
The dramatic spectacle of Wits Progress
80
Images culinaires dans la Comédie de
94
Selfimage et spectacle in Tamburlaine
109
Imagery in Shakespeares Titus Andronicus
135
MISES EN SCENE DE LIMAGE
193
De la Monarchie bourgeoise à la Monarchie
211
Le Roispectacle spectacle officiel
219
limage dun spectacle
232
Artificiality
264
a theatrical
281
The image of the Swan Theatre
337
INDEX des auteurs critiques et oeuvres
360

Theatre of image to Shadow Theatre
147
A case study of The Changeling
177

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Über den Autor (1993)

Andre Lascombes, Doctorat d'Etat, is Professor (de 1e classe) at the University of Tours, France. Recent publications: "La fonction theatrale des personnages du mal," in "METh, " (1992) and "Ce nom qui dit: fonctionnement theatral du personnage allegorique," "Le personnage allegorique" (1989).

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