Abandoned New England : landscape in the works of Homer, Frost, Hopper, Wyeth, and Bishop
著者
書誌事項
Abandoned New England : landscape in the works of Homer, Frost, Hopper, Wyeth, and Bishop
(Revisiting New England)
University Press of New England, c2003
- : cloth
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [241]-267) and index
内容説明・目次
内容説明
Abandoned New England focuses on five modern American visual artists and poets-Winslow Homer, Robert Frost, Edward Hopper, Andrew Wyeth, and Elizabeth Bishop-who portrayed the stark traditional beauty of New England landscape. Their paintings and poetry of abandoned terrain ask: what does a landscape represent and what meaning can it have when nature's power appears supplanted by urban or technological forces and when the observing eye is no longer emblematic of an enlightened viewer? Abandoned New England pursues these inquiries by discussing shifting and conflicting cultural attitudes toward the wild, rural, and domestic. In her readings of texts and images, Paton explores landscape as the synthesis of the human and nonhuman, as a place simultaneously reflecting and resisting desire, as the setting for social dilemmas, as encounters with otherness and a past both lost and inescapable, and as an integral part of creating and limiting identity.
Paton argues that although"landscape" seems to have lost some of its significance in the modern era, longings for its potential value persist. Landscape iconology, ecocriticism, green cultural studies, cultural geography, and aesthetics provide fresh perspectives on how iconic New England artists have depicted landscape, revised stale conventions, undermined biases surrounding nativism, and recharged our reception of the rustic pastoral. Ultimately, Paton's analysis of the works of these beloved New England artists demonstrates a postmodern yearning to reinvent nature and reimagine Eden.
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