000			03881cam a2200553Ii 4500
001			BRILL9789401208697
003			nllekb
005			20260610105553.0
007			cr un uuuua
008			130320s2012 ne a sb 000 0 eng d
020			_a9789401208697 _q(electronic book)
020			_z9789042035942 _q(print)
024	7		_a10.1163/9789401208697 _2DOI
035			_a(OCoLC)830628307
040			_aNL-LeKB _cNL-LeKB _erda
050		4	_aPQ145.6.S55 _bP54 2012
072		7	_aNX _2lcco
072		7	_aPQ _2lcco
072		7	_aLIT _x004150 _2bisacsh
072		7	_aDSB _2bicssc
072		7	_aLIT000000 _2bisacsh
082	0	4	_a840.9
100	1		_aPierce, Gillian Borland, _d1966-
245	1	0	_aScapeland : _bwriting the landscape from Diderot's Salons to the postmodern museum / _cGillian B. Pierce.
264		1	_aAmsterdam ; _aNew York, NY : _bRodopi, _c2012.
300			_a1 online resource (240 pages) : _billustrations (some color)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aFaux titre ; _v383
504			_aIncludes bibliographical references (p. 229-240).
505	0	0	_aPreliminary Material -- Acknowledgments -- Introduction -- Landscape and the Sublime, or The Art of Nature -- Les Limites de l’imitation: Diderot and the Salons -- Baudelaire’s Parisian Cityscape: Charles Meryon and Le Spleen de Paris -- Mapping the City as Dreamscape: André Breton and le point sublime -- “Scapeland”: The Sublime and Lyotard’s Les Immatériaux -- Conclusion -- Bibliography.
506			_aAvailable to subscribing member institutions only.
520			_aScapeland: Writing the Landscape from Diderot’s Salons to the Postmodern Museum is a comparative, interdisciplinary study tracing theories of the sublime and a history of spectatorship from Diderot’s eighteenth-century French Salons , through art criticism by Baudelaire and Breton, to Jean-François Lyotard’s postmodern exhibition Les Immatériaux . In the Salons , an exploration of the painted landscape becomes an encounter with both the limits of representation and the infinite possibilities of fiction. Baudelaire and Breton explore similar limits in their work, set against the backdrop of the modern city. For them, as for Diderot, the attempt to render visual objects in narrative language leads to the development of new literary forms and concerns. Lyotard’s concept of the “postmodern museum” frames the sublime encounter, once again, in terms that expressly evoke Diderot’s verbal rendering of painted spaces as a personal promenade . According to Lyotard, Diderot “ouvre, par écrit, les surfaces des tableaux comme les portes d’une exposition.. . . [il] abolit . . . l’opposition de la nature et de la culture, de la réalité de l’image, du volume et de la surface.” Reading the literary production of these four writers alongside their art criticism, Scapeland considers narrative responses to art as imaginative assertions of human presence against the impersonal world of objects.
650		0	_aSublime, The, in literature.
650		0	_aSpectators in literature.
650		0	_aLandscapes in literature.
650		0	_aFrench literature _xHistory and criticism.
650		7	_aFrench literature. _2fast
650		7	_aLandscapes in literature. _2fast
650		7	_aSpectators in literature. _2fast
650		7	_aSublime, The, in literature. _2fast
655		7	_aCriticism, interpretation, etc. _2fast
776	0	8	_iPrint version: _aPierce, Gillian Borland, 1966- _tScapeland. _dAmsterdam ; New York, NY : Rodopi, 2012 _z9042035943 _z9789042035942
830		0	_aFaux Titre _v383.
830		0	_aLiterature and Cultural Studies E-Books Online, Collection 2012, ISBN: 9789004357907.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789401208697
999			_c40315 _d40315