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Salome and the Dance of Writing : Portraits of Mimesis in Literature by Françoise Meltzer (1987, Hardcover)
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SALOME AND THE DANCE OF WRITING: PORTRAITS OF MIMESIS IN LITERATURE By Francoise Meltzer - Hardcover *Excellent Condition*.
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About this product
Product Identifiers
PublisherUniversity of Chicago Press
ISBN-100226519716
ISBN-139780226519715
eBay Product ID (ePID)96260
Product Key Features
Number of Pages233 Pages
LanguageEnglish
Publication NameSalome and the Dance of Writing : Portraits of Mimesis in Literature
SubjectGeneral, Subjects & Themes / General
Publication Year1987
TypeTextbook
Subject AreaLiterary Criticism
AuthorFrançoise Meltzer
FormatHardcover
Dimensions
Item Height0.1 in
Item Weight15.2 Oz
Item Length0.9 in
Item Width0.6 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN86-024893
Dewey Edition19
IllustratedYes
Dewey Decimal809
Table Of ContentAcknowledgments Introduction 1. Salome and the Dance of Writing 2. The Spearpoint of Troilus 3. The Golden Calf and the Golden Ass 4. Still Life 5. Sleight of Hand Handling A Manifesto The Doubts of Laocoön Showing the Hand: Caricatures; or, It's Done with Mirrors Echoes Index
SynopsisHow does literature imagine its own powers of representation? Fran oise Meltzer attempts to answer this question by looking at how the portrait--the painted portrait, framed--appears in various literary texts. Alien to the verbal system of the text yet mimetic of the gesture of writing, the textual portrait becomes a telling measure of literature's views on itself, on the politics of representation, and on the power of writing. Meltzer's readings of textual portraits--in the Gospel writers and Huysmans, Virgil and Stendhal, the Old Testament and Apuleius, Hawthorne and Poe, Kafka and Rousseau, Walter Scott and Mme de Lafayette--reveal an interplay of control and subversion: writing attempts to veil the visual and to erase the sensual in favor of "meaning," while portraiture, with its claims to bringing the natural object to "life," resists and eludes such control. Meltzer shows how this tension is indicative of a politics of repression and subversion intrinsic to the very act of representation. Throughout, she raises and illuminates fascinating issues: about the relation of flattery to caricature, the nature of the uncanny, the relation of representation to memory and history, the narcissistic character of representation, and the interdependency of representation and power. Writing, thinking, speaking, dreaming, acting--the extent to which these are all controlled by representation must, Meltzer concludes, become "consciously unconscious." In the textual portrait, she locates the moment when this essential process is both revealed and repressed., How does literature imagine its own powers of representation? Françoise Meltzer attempts to answer this question by looking at how the portrait--the painted portrait, framed--appears in various literary texts. Alien to the verbal system of the text yet mimetic of the gesture of writing, the textual portrait becomes a telling measure of literature's views on itself, on the politics of representation, and on the power of writing. Meltzer's readings of textual portraits--in the Gospel writers and Huysmans, Virgil and Stendhal, the Old Testament and Apuleius, Hawthorne and Poe, Kafka and Rousseau, Walter Scott and Mme de Lafayette--reveal an interplay of control and subversion: writing attempts to veil the visual and to erase the sensual in favor of "meaning," while portraiture, with its claims to bringing the natural object to "life," resists and eludes such control. Meltzer shows how this tension is indicative of a politics of repression and subversion intrinsic to the very act of representation. Throughout, she raises and illuminates fascinating issues: about the relation of flattery to caricature, the nature of the uncanny, the relation of representation to memory and history, the narcissistic character of representation, and the interdependency of representation and power. Writing, thinking, speaking, dreaming, acting--the extent to which these are all controlled by representation must, Meltzer concludes, become "consciously unconscious." In the textual portrait, she locates the moment when this essential process is both revealed and repressed.
LC Classification NumberPN47
