The Emblematics of the Self: Ekphrasis and Identity in Renaissance Imitations of Greek Romance

By Elizabeth B. Bearden

© 2011

The ancient Greek romances of Achilles Tatius and Heliodorus were widely imitated by early modern writers such as Miguel de Cervantes, Philip Sidney, and Mary Wroth. Like their Greek models, Renaissance romances used ekphrasis, or verbal descriptions of visual representation, as a tool for characterization. The Emblematics of the Self shows how the women, foreigners, and non-Christians of these tales reveal their identities and desires in their responses to the ‘verbal pictures’ of romance.

Elizabeth B. Bearden illuminates how ‘verbal pictures’ enliven characterization in English, Spanish, and Neolatin romances from 1552 to 1621. She notes the capacity for change among characters — such as cross-dressed Amazons, shepherdish princesses, and white Mauritanians — who traverse transnational cultural and aesthetic environments. Engaging and rigorous, The Emblematics of the Self breaks new ground in understanding hegemonic and cosmopolitan European conceptions of the ‘other,’ as well as new possibilities for early modern identities, in an increasingly global Renaissance.

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Product Details

  • Division: Scholarly Publishing
  • World Rights
  • Page Count: 272 pages
  • Illustrations: 8
  • Dimensions: 6.3in x 0.9in x 9.3in
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SKU# SP003171

  • PUBLISHED JAN 2012

    From: $53.25

    Regular Price: $71.00

    ISBN 9781442643468
  • PUBLISHED JAN 2012

    From: $53.25

    Regular Price: $71.00

Quick Overview

The Emblematics of the Self breaks new ground in understanding hegemonic and cosmopolitan European conceptions of the ‘other,’ as well as new possibilities for early modern identities, in an increasingly global Renaissance.

The Emblematics of the Self: Ekphrasis and Identity in Renaissance Imitations of Greek Romance

By Elizabeth B. Bearden

© 2011

The ancient Greek romances of Achilles Tatius and Heliodorus were widely imitated by early modern writers such as Miguel de Cervantes, Philip Sidney, and Mary Wroth. Like their Greek models, Renaissance romances used ekphrasis, or verbal descriptions of visual representation, as a tool for characterization. The Emblematics of the Self shows how the women, foreigners, and non-Christians of these tales reveal their identities and desires in their responses to the ‘verbal pictures’ of romance.

Elizabeth B. Bearden illuminates how ‘verbal pictures’ enliven characterization in English, Spanish, and Neolatin romances from 1552 to 1621. She notes the capacity for change among characters — such as cross-dressed Amazons, shepherdish princesses, and white Mauritanians — who traverse transnational cultural and aesthetic environments. Engaging and rigorous, The Emblematics of the Self breaks new ground in understanding hegemonic and cosmopolitan European conceptions of the ‘other,’ as well as new possibilities for early modern identities, in an increasingly global Renaissance.

Continue Reading Read Less

Product Details

  • Division: Scholarly Publishing
  • World Rights
  • Page Count: 272 pages
  • Illustrations: 8
  • Dimensions: 6.3in x 0.9in x 9.3in
  • Author Information

    Elizabeth B. Bearden is an assistant professor of English and Comparative Literature at the University of Maryland, College Park.

  • Table of contents

    Illustrations

    Acknowledgments

    Introduction

    A Note on Editions, Translations, and Abbreviations

    Chapter One

    The Romance Globe: Why the Renaissance Repainted Greek Romance

    Chapter Two

    Converso Convertida: Cross-dressed Narration and Ekphrastic Interpretation in Leucippe and Clitophon and Clareo y Florisea

    Chapter Three

    Amazon Eyes and Shifting Emblems in Sidney's Greek Arcadia

    Chapter Four

    Painting Counterfeit Canvases: Heliodoran Pictographs, American Lienzos, and European Imaginings of the Barbarian in Cervantes' Persiles

    Chapter Five

    Pictura Locorum: Heliodoran Hieroglyphs and Anglo-African Identity in Barclay's Argenis

    Chapter Six

    “We are all picturd in that Piece”: Lovers, Persians, Tartars, and the “Tottering” Romance Globe in Lady Mary Wroth's Urania

    Conclusions

    Works Cited

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