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#smrgKİTABEVİ Images of Woman in Pre-Raphaelite Visual and Textual Narratives - 2023

Editör:
Kondisyon:
Yeni
Sunuş / Önsöz / Sonsöz / Giriş:
Basıldığı Matbaa:
Dizi Adı:
ISBN-10:
6253985479
Kargoya Teslim Süresi:
6&9
Hazırlayan:
Cilt:
Amerikan Cilt
Stok Kodu:
1199214716
Boyut:
13x21
Sayfa Sayısı:
400
Basım Yeri:
Ankara
Baskı:
1
Basım Tarihi:
2023
Kapak Türü:
Karton Kapak
Kağıt Türü:
Enso
Dili:
İngilizce
Kategori:
indirimli
204,00
Havale/EFT ile: 197,88
Siparişiniz 6&9 iş günü arasında kargoda
1199214716
601271
Images of Woman in Pre-Raphaelite Visual and Textual Narratives -        2023
Images of Woman in Pre-Raphaelite Visual and Textual Narratives - 2023 #smrgKİTABEVİ
204.00
The Pre-Raphaelite Brotherhood, banded in 1848 by a group of exuberant young painters and poets, swam against the tides of the standard teachings of the Royal Academy, thereby receiving the epithet of Victorian Avant-Garde. Their paintings' intense focus on nature and painstakingly studied details in vivid colours distinguish them as being notably Pre-Raphaelite. The Bible, Medieval romances, Arthurian stories, Chaucer, and Shakespeare are just a few of the canonical literature that inspired their ideas, and the female figures they portrayed on their canvases. It should be acknowledged, nonetheless, that their affinity to modern poetry was unquestionably the source of their avant-garde energy. Providing a pluralistic narrative through the combination of text and image, the female figures are means to their expression of demythologizing the Victorian identity of woman.

Through an interaction between key textual and visual narratives, Tülay Dağoğlu provides a critical and explorative interpretation of the prevalent theme of woman in art and text, particularly in the nineteenth century. The selection of visual and textual texts is justified by the recognition of conceptual image treatments as well as by the shifting attitudes toward women in Victorian culture: the symbol of female excellence, the woman in shadow, the madwoman, the fallen woman, and the femme fatale.
The Pre-Raphaelite Brotherhood, banded in 1848 by a group of exuberant young painters and poets, swam against the tides of the standard teachings of the Royal Academy, thereby receiving the epithet of Victorian Avant-Garde. Their paintings' intense focus on nature and painstakingly studied details in vivid colours distinguish them as being notably Pre-Raphaelite. The Bible, Medieval romances, Arthurian stories, Chaucer, and Shakespeare are just a few of the canonical literature that inspired their ideas, and the female figures they portrayed on their canvases. It should be acknowledged, nonetheless, that their affinity to modern poetry was unquestionably the source of their avant-garde energy. Providing a pluralistic narrative through the combination of text and image, the female figures are means to their expression of demythologizing the Victorian identity of woman.

Through an interaction between key textual and visual narratives, Tülay Dağoğlu provides a critical and explorative interpretation of the prevalent theme of woman in art and text, particularly in the nineteenth century. The selection of visual and textual texts is justified by the recognition of conceptual image treatments as well as by the shifting attitudes toward women in Victorian culture: the symbol of female excellence, the woman in shadow, the madwoman, the fallen woman, and the femme fatale.
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