简介
Focuses on five central aspects of new historicism: recurrent use of anecdotes, preoccupation with the nature of representations, fascination with the history of the body, sharp focus on neglected details, and skeptical analysis of ideology. Arguing that new historicism has always been more a passionately engaged practice of questioning and analysis than an abstract theory, the authors demonstrate this practice in a series of works ranging from the altarpiece painting Communion of the Apostles by Joos van Gent [Urbino, Galleria Nazionale] and its predella Profanation of the Host by Paolo Uccello to Hamlet and Great expectations. By juxtaposing analysis of Renaissance and 19th-c. topics, the authors uncover a number of contrasts and connections between the two periods.
目录
Acknowledgments p. ix
Introduction p. 1
The Touch of the Real p. 20
Counterhistory and the Anecdote p. 49
The Wound in the Wall p. 75
The Potato in the Materialist Imagination p. 110
The Mousetrap p. 136
The Novel and Other Discourses of Suspended Disbelief p. 163
Notes p. 211
Index p. 235
Introduction p. 1
The Touch of the Real p. 20
Counterhistory and the Anecdote p. 49
The Wound in the Wall p. 75
The Potato in the Materialist Imagination p. 110
The Mousetrap p. 136
The Novel and Other Discourses of Suspended Disbelief p. 163
Notes p. 211
Index p. 235
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