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The Graphic Unconscious in Early Modern French Writing (Cambridg
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“Absolutely like new with a like new dust jacket. There is a black dot on the bottom edge signifying ”... Read moreabout condition
Very good
A book that does not look new and has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket (if applicable) included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear. See the seller’s listing for full details and description of any imperfections.
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Located in: Livonia, Michigan, United States
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eBay item number:256936144223
Item specifics
- Condition
- Very good
- Seller notes
- Title
- The Graphic Unconscious in Early Modern French Writing (Cambridg
- ISBN
- 9780521410311
About this product
Product Identifiers
Publisher
Cambridge University Press
ISBN-10
0521410312
ISBN-13
9780521410311
eBay Product ID (ePID)
931756
Product Key Features
Number of Pages
240 Pages
Publication Name
Graphic Unconscious in Early Modern French Writing
Language
English
Subject
European / French, European / General, Graphic Arts / Typography, Poetry, Semiotics & Theory, Subjects & Themes / General
Publication Year
1992
Type
Textbook
Subject Area
Literary Criticism, Design
Series
Cambridge Studies in French Ser.
Format
Hardcover
Dimensions
Item Height
0.7 in
Item Weight
15.9 Oz
Item Length
8.5 in
Item Width
5.5 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
91-033117
Dewey Edition
20
Reviews
"[Conley] is very convincing. We are taken through a labyrinth of puns, amphibolies, alliterations, symmetries, inversions, analogies, and in a variety of tones. We are gradually won over, in spite of the difficulty of the text. Repetitive patterns and the author's insistence, backed by a solid method of demonstration, work. Moreover, this book is very well documented. Numerous notes reveal a mine of information embracing all points of view on the letter. Conley's historical and critical approaches to the subject bear witness to his scholarship." Danielle Raquidel, French Review, "...a unique and highly creative work, full of erudition, striking and persuasive interpretations, and daringly creative play with and through Renaissance texts. Many readers will be enthralled, some outraged, and none bored by Conley's willingness to follow the 'screen memories,'... Conley's willingness to take risks and his prodigious ability both to perceive the potential recombination of graphic material and to relate detail to large semantic units make The Graphic Unconscious a rewarding and refreshing book." John D. Lyons, Renaissance Quarterly
TitleLeading
The
Series Volume Number
Series Number 37
Illustrated
Yes
Dewey Decimal
840.9003
Table Of Content
List of illustrations; Acknowledgements; Introduction; 1. A secret space: Marot's Rondeaux; 2. The Rabelaisian hieroglyph; 3. Ronsard's sonnet-pictures; 4. The turn of the letter: from Cassandre to Hélène; 5. Montaigne's test of style: De l'exercitation; 6. A colossal abyss: Des coches; Conclusion; Notes; Bibliography; Index.
Synopsis
This book studies the importance of typographic shapes in French Renaissance literature in the context of psychoanalysis and of the history of printed writing. Focusing on the poetry of Clement Marot, Rabelais's Gargantua, Ronsard's sonnets and the Essais of Montaigne, it argues that printed characters can either supplement or betray what they appear to articulate. They often reveal compositional patterns that do not appear to be under authorial control, and open political and subjective dimensions through the interaction of verbal and visual materials. This unconscious, proto-Freudian writing has complex historical relations with practices found in the media of the twentieth century., This 1992 book studies the importance of typographic shapes in French Renaissance literature in the context of psychoanalysis and of the history of printed writing.This book studies the importance of typographic shapes in French Renaissance literature in the context of psychoanalysis and of the history of printed writing., This 1992 book studies the importance of typographic shapes in French Renaissance literature in the context of psychoanalysis and of the history of printed writing. Focusing on the poetry of Clement Marot, Rabelais's Gargantua, Ronsard's sonnets and the Essais of Montaigne, it argues that printed characters can either supplement or betray what they appear to articulate, revealing compositional patterns that do not appear to be under authorial control. Professor Conley shows that graphic forms are crucial for the development of complex interactions of verbal and visual materials in the early years of print culture. Marot and Rabelais articulate a religious programme through the letter; Ronsard conflates the arts in poetry of the French court in the middle years of the sixteenth century; Montaigne stages the birth of the self in print and inscribes political dimensions in the relationship between the letter and meaning. This unconscious, proto-Freudian writing has complex historical relations with verbal and visual practices in the media of the twentieth century.
LC Classification Number
PQ239 .C67 1992
Item description from the seller
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- 9***0 (2747)- Feedback left by buyer.Past 6 monthsVerified purchaseWell Packed- Fast Shipping- Great Recipe Book- Very Satisfied- 5 Star Seller-
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