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Full Description
The ancient Greek romances of Achilles Tatius and Heliodorus were widely imitated by early modern writers such as Miguel de Cervantes, Philip Sidney, and Mary Wroth. Like their Greek models, Renaissance romances used ekphrasis, or verbal descriptions of visual representation, as a tool for characterization. The Emblematics of the Self shows how the women, foreigners, and non-Christians of these tales reveal their identities and desires in their responses to the 'verbal pictures' of romance.
Elizabeth B. Bearden illuminates how 'verbal pictures' enliven characterization in English, Spanish, and Neolatin romances from 1552 to 1621. She notes the capacity for change among characters — such as cross-dressed Amazons, shepherdish princesses, and white Mauritanians — who traverse transnational cultural and aesthetic environments. Engaging and rigorous, 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.
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
