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Titlebook: Crossroad of Arts, Crossroad of Cultures; Ecphrasis in Russian Maria Rubins Book 2000 Palgrave Macmillan, a division of Nature America Inc.

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發(fā)表于 2025-3-21 18:59:33 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱(chēng)Crossroad of Arts, Crossroad of Cultures
副標(biāo)題Ecphrasis in Russian
編輯Maria Rubins
視頻videohttp://file.papertrans.cn/241/240422/240422.mp4
圖書(shū)封面Titlebook: Crossroad of Arts, Crossroad of Cultures; Ecphrasis in Russian Maria Rubins Book 2000 Palgrave Macmillan, a division of Nature America Inc.
描述Crossroad of Arts, Crossroad of Cultures is the first book-length study of the aesthetic similarities between the French Parnassians, a 19th-century group of poets led by Théophile Gautier, and the Russian Acmeist poets, including Osip Mandelstam and Anna Akhmatova, who were active in the second decade of the 20th century. The Acmeists shared with the Parnassians a classical sensibility, an aspiration to state-of-the-art verbal craftsmanship, and a keen interest in the three-dimensional, physical world. Their love of plastic beauty as embodied in painting, sculpture, and architecture found natural release in verse about works of art. The book shows how Acmeist texts document aspects of Russian Modernist culture while continuing the Parnassian tradition of poetry inspired by visual art.
出版日期Book 2000
版次1
doihttps://doi.org/10.1007/978-1-349-62736-3
isbn_ebook978-1-349-62736-3
copyrightPalgrave Macmillan, a division of Nature America Inc. 2000
The information of publication is updating

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,Quine’s Philosophy of Science, this technique was employed by a wide range of poets, no other group produced as much ecphrastic verse as the French Parnassians. They are credited not only with the creation of elaborate pictorialist poetry, but also with the articulation of pictorialist poetics.
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Steps Towards a Pragmatic Protogeometry,nes are somewhat diminished until they find recomposition in words. Conversely, when we describe in story our experiences or dreams, we unconsciously seek to create visual images for ourselves or our interlocutors, brandishing epithets of color, shape, and shadow as if in defense of the maxim “a pic
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,The Russo-German Question, 1918–1920,wo categories. One group of narratives tends toward detailed description; in transposing a sculpture or painting, they assimilate certain devices characteristic of the visual arts. In contrast, the other current in literary treatment of art favors transformation over imitation. Many Russian authors
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Reflections on the Philosophy of Languagevery core of Acmeist poetry and poetics.Three renowned poets of the Acmeist milieu, namely Innokenty Annen-sky, Maksimilian Voloshin, and Mikhail Kuzmin, tapped into this important current as well. While these poets do not fit neatly into any single modernist group, their treatment of the arts illum
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