“Yeux Glauques,”the sixth poem of Ezra Pound’s 1920 Hugh Selwyn Mauberley,has been read as an indictment of Victorian viewers’and readers’rejection of Pre-Raphaelite art and poetry,a rejection proleptic of Georgi...“Yeux Glauques,”the sixth poem of Ezra Pound’s 1920 Hugh Selwyn Mauberley,has been read as an indictment of Victorian viewers’and readers’rejection of Pre-Raphaelite art and poetry,a rejection proleptic of Georgian readers’rejection of Pound’s own innovations.This is largely accurate.But the poem’s citation(in its first stanza)of John Ruskin’s“Of Kings’Treasuries”can be read as directing readers’attention to Ruskin’s 1864 lecture,in part an exhortation to examine the etymologies of the words of the texts they read.Such an etymological examination of“glauques”in the poem’s title in effect reinforces a secondary implication of the poem as a whole:that the Pre-Raphaelite movement suffered from its members’failure to convincingly or feelingly represent active female subjectivity.展开更多
Since childhood,William Wordsworth and John Ruskin have developed a very natural love for landscape and scenery.Although they have different ways to interpret what they see and how they feel,they both stick to their g...Since childhood,William Wordsworth and John Ruskin have developed a very natural love for landscape and scenery.Although they have different ways to interpret what they see and how they feel,they both stick to their genuine feelings without pre⁃tension in their poems.Those unpretentious feelings and behaviors,which are crucial to their later development to be remarkable artists,come from their original habit and attitude towards Nature as a child.All their life,they preserved this innocence in their work as a memory of childhood.展开更多
The poetry and painting of such Pre-Raphaelite artists as Rossetti and Morris are intimately linked in terms of both the theoretic base and the techniques adopted in the process of creation,so much so that the interac...The poetry and painting of such Pre-Raphaelite artists as Rossetti and Morris are intimately linked in terms of both the theoretic base and the techniques adopted in the process of creation,so much so that the interaction between the two could be labeled symbiotic.The paper aims to trace the origin of this kinship by adumbrating the relationship between poetry and painting from ancient Greece to the 19th century,illustrating the art aesthetic of John Ruskin(his defense for poetry and painting as sister arts and his philosophy of beauty in particular)as the foundation for the two target artists'practice,and examining the diverse techniques employed in their artistic production.展开更多
文摘“Yeux Glauques,”the sixth poem of Ezra Pound’s 1920 Hugh Selwyn Mauberley,has been read as an indictment of Victorian viewers’and readers’rejection of Pre-Raphaelite art and poetry,a rejection proleptic of Georgian readers’rejection of Pound’s own innovations.This is largely accurate.But the poem’s citation(in its first stanza)of John Ruskin’s“Of Kings’Treasuries”can be read as directing readers’attention to Ruskin’s 1864 lecture,in part an exhortation to examine the etymologies of the words of the texts they read.Such an etymological examination of“glauques”in the poem’s title in effect reinforces a secondary implication of the poem as a whole:that the Pre-Raphaelite movement suffered from its members’failure to convincingly or feelingly represent active female subjectivity.
文摘Since childhood,William Wordsworth and John Ruskin have developed a very natural love for landscape and scenery.Although they have different ways to interpret what they see and how they feel,they both stick to their genuine feelings without pre⁃tension in their poems.Those unpretentious feelings and behaviors,which are crucial to their later development to be remarkable artists,come from their original habit and attitude towards Nature as a child.All their life,they preserved this innocence in their work as a memory of childhood.
文摘The poetry and painting of such Pre-Raphaelite artists as Rossetti and Morris are intimately linked in terms of both the theoretic base and the techniques adopted in the process of creation,so much so that the interaction between the two could be labeled symbiotic.The paper aims to trace the origin of this kinship by adumbrating the relationship between poetry and painting from ancient Greece to the 19th century,illustrating the art aesthetic of John Ruskin(his defense for poetry and painting as sister arts and his philosophy of beauty in particular)as the foundation for the two target artists'practice,and examining the diverse techniques employed in their artistic production.
