Description

Book Synopsis
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.

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

The Emblematics of the Self

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    A Hardback by Elizabeth B. Bearden

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      Publisher: University of Toronto Press
      Publication Date: 21/01/2012
      ISBN13: 9781442643468, 978-1442643468
      ISBN10: 1442643463
      Also in:
      Literary studies: ancient, classical

      Description

      Book Synopsis
      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.

      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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