The Scandal of Images: Iconoclasm, Eroticism, and Painting in Early Modern English Drama

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Susquehanna University Press, 2005 - 259 ページ
In Elizabethan England, dramatists and painters were both achieving the greatest degree of artistic excellence yet witnessed, but they were also in a state of transition, vying for social status and patronage, as well as struggling against religious reformers' accusations of idolatry and eroticism. This interdisciplinary study brings to light the radical, inventive ways in which dramatists such as Shakespeare, Lyly, and Marston appropriated painting and subtly competed with painters to advance their own art and defend theater against Puritan attacks. They transformed painting into a provocative stage property and trope that enhanced the language of their scripts and the audience's imaginative participation in the drama. At the same time, they reflected a profound ambivalence towards painting by staging scenes with painters and pictures that emphasized the dangerous powers inherent in visual images and image-making.
 

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目次

The Power of Images in Early Modern England Prejudices Against and Defenses of Painting and Playing
29
John Lylys Campaspe and the Subtle Eroticism of the Elizabethan Miniature
66
Dramatic Uses of Portrait Properties and FacePainting in the Boys Theater at St Pauls
98
Scandalous Counterfeiting Iconophobia Poison and Painting in Arden of Faversham
130
Stretch thine art Painting Passions Revenge and the Painter Addition to The Spanish Tragedy
152
Images Lawful and Beguiling Ambivalent Responses to Painting in Shakespeares Drama
178
Notes
216
Bibliography
239
Index
253
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