The emblematics of the self ekphrasis and identity in Renaissance imitations of Greek romance / Elizabeth B. Bearden.

By:

Bearden, Elizabeth B, 1975- [Author]

Material type: Text

TextPublication details: Toronto [Ont. : University of Toronto Press, (c)2012.; (Saint-Lazare, Quebec : Canadian Electronic Library, (c)2012).Description: 1 online resource (xiv, 258 pages) : illustrations, digital fileContent type:

text

Media type:

computer

Carrier type:

online resource

ISBN:

9781442696143

Subject(s):

Genre/Form:

Electronic Books.

LOC classification:

PN56 .E435 2012
PN721

Online resources:

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Available additional physical forms:

Contents:

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.

Subject: 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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Holdings
Item type	Current library	Collection	Call number	URL	Status	Date due	Barcode
Online Book (LOGIN USING YOUR MY CIU LOGIN AND PASSWORD)	G. Allen Fleece Library ONLINE	Non-fiction	PN56.42 (Browse shelf(Opens below))	Link to resource	Available		ocn794619907

Includes bibliographies and index.

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.

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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