The Simplest of Signs: Victor Hugo and the Language of Images in France, 1850-1950Must we learn how to read pictures? Or are pictures viewed, and texts read? If both pictures and texts are read, what theory accounts both for this reading and the manifest differences that exist between the two sign systems? In response to such questions, Timothy Raser traces the evolution of simple signs from the Romantic moment to the recent past, showing how a desire for direct signification informs both canonical Romantic texts and the art-critical texts of subsequent generations. Employing semiotic analyses, he isolates the devices used by poetry, plays, novels, and art criticism to produce effects of immediacy. So doing, he describes the rhetoric of art criticism as it evolved over the nineteenth century in France. The tropes of this genre are particular to it - resurrection is a favored metaphor - and these tropes, when deconstructed, explain arguments, evaluations, and choices that saturate the field. Timothy Raser is a Professor of French at the University of Georgia. |
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Page 154
... painting and elsewhere . Fromentin's own paintings of street scenes in Algeria and Morocco , for example , respond to the thrust of his Dutch thesis , and it is in spite , or perhaps because of this preference , that he is drawn to ...
... painting and elsewhere . Fromentin's own paintings of street scenes in Algeria and Morocco , for example , respond to the thrust of his Dutch thesis , and it is in spite , or perhaps because of this preference , that he is drawn to ...
Page 162
... painting and the interpretation that must be made of the paintings ; they certainly disagree over the value to grant to the paintings they consider . But they do agree that painting can preserve life , keep the living from dying , and ...
... painting and the interpretation that must be made of the paintings ; they certainly disagree over the value to grant to the paintings they consider . But they do agree that painting can preserve life , keep the living from dying , and ...
Page 183
... paint another , denoting a human predicament while connoting divine intervention . This kind of duplicity , Sartre argues , is especially characteristic of painting , where painters must paint what their patrons wish to see , but where ...
... paint another , denoting a human predicament while connoting divine intervention . This kind of duplicity , Sartre argues , is especially characteristic of painting , where painters must paint what their patrons wish to see , but where ...
Contents
List of Illustrations | 7 |
Introduction | 13 |
Dates Words Names and Facts | 21 |
Copyright | |
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æsthetic allegory apostrophe argues argument art criticism art-critical artist author's translation autre Barthes Baudelaire 1965 Baudelaire's beautiful bien Bièvre Bug-Jargal c'est chose citation claim Claudel connotation Constantin Guys Contemplations course dates death Delacroix denotation Derrida describe discourse Dutch painting effect effet de réel essay Eugène Boudin example exile existence fait fiction figure Foucault France Frollo's Fromentin 1984 Gaudon Giuseppe Arcimboldo Guys Guys's Hernani Hugo's ideology images imagination implies jour Juliette l'homme language Leroux Les Contemplations Lucrèce Borgia Marie Tudor meaning ment metaphor n'est narrative Notre-Dame de Paris novel Olympio painter Peintre performative performative utterances Petrey poem poet poetry portrait prison Proust qu'elle qu'il Quatrevingt-treize question reader reading reference represent representation resurrection rien Roland Barthes Ruskin Ruy Blas Saint Salon Sartre Sartre's Saussure sculpture signified slaves story things Tintoretto tion tout Victor Hugo vie moderne word writing