The scandal of images : iconoclasm, eroticism, and painting in early Modern English drama
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Bibliographic Information
The scandal of images : iconoclasm, eroticism, and painting in early Modern English drama
（The Apple-Zimmerman series in early modern culture）
Susquehanna University Press, c2005
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Note
Includes bibliographical references (p. 239-251) and index
HTTP:URL=http://www.loc.gov/catdir/toc/ecip0420/2004017599.html Information=Table of contents
Contents of Works
- The power of images in early modern England : prejudices against and defenses of painting and playing
- John Lyly's campaspe and the subtle eroticism of the Elizabethan miniature
- Dramatic uses of portrait properties and face-painting in the boys' theater at St Paul's
- Scandalous counterfeiting : iconophobia, poison, and painting in Arden of Faversham
- "Stretch thine art" : painting passions, revenge, and the painters addition to the Spanish tragedy
- Images lawful and beguiling : ambivalent responses to painting in Shakespeare's drama
Description and Table of Contents
Description
In Elizabethan England, dramatists and painters were both achieving the greatest degree of artistic excellence yet witnessed, but they were also in a state of transition, vying for social status and patronage, as well as struggling against religious reformers' accusations of idolatry and eroticism. This interdisciplinary study brings to light the radical, inventive ways in which dramatists such as Shakespeare, Lyly, and Marston appropriated painting and subtly competed with painters to advance their own art and defend theater against Puritan attacks. They transformed painting into a provocative stage property and trope that enhanced the language of their scripts and the audience's imaginative participation in the drama. At the same time, they reflected a profound ambivalence towards painting by staging scenes with painters and pictures that emphasized the dangerous powers inherent in visual images and image-making, thus drawing attention to the controversial moral and social status of English painters during the Reformation. Marguerite Tassi is Associate Professor of English at the University of Nebraska-Kearney.
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