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Biographical Notes on Guido Mazzoni
Features the biography of Guido Mazzoni. Includes the significant years in order, from his birth in 1859 until his death in 1943. Also includes his profession, works, political career and his lovelife.
On Modern Poetry
An incisive, unified account of modern poetry in the Western tradition, arguing that the emergence of the lyric as a dominant verse style is emblematic of the age of the individual. Between the end of the eighteenth century and the beginning of the twentieth, poetry in the West was transformed. The now-common idea that poetry mostly corresponds with the lyric in the modern sense—a genre in which a first-person speaker talks self-referentially—was foreign to ancient, medieval, and Renaissance poetics. Yet in a relatively short time, age-old habits gave way. Poets acquired unprecedented freedom to write obscurely about private experiences, break rules of meter and syntax, use new vocabular...
Theory of the Novel
The novel is the most important form of Western art. It aims to represent the totality of life; it is the flagship that literature sends out against the systematic thought of science and philosophy. Indebted to Lukács and Bakhtin, to Auerbach and Ian Watt, Guido Mazzoni’s Theory of the Novel breaks new ground, building a historical understanding of how the novel became the modern book of life: one of the best representations of our experience of the world. The genre arose during a long metamorphosis of narrative forms that took place between 1550 and 1800. By the nineteenth century it had come to encompass a corpus of texts distinguished by their freedom from traditional formal boundaries...
Guido Mazzoni
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Guido Mazzoni
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Ephemeral Bodies
The material history of wax is a history of disappearance--wax melts, liquefies, evaporates, and undergoes innumerable mutations. Wax is tactile, ambiguous, and mesmerizing, confounding viewers and scholars alike. It can approximate flesh with astonishing realism and has been used to create uncanny human simulacra since ancient times--from phallic amulets offered to heal distressing conditions and life-size votive images crammed inside candlelit churches by the faithful, to exquisitely detailed anatomical specimens used for training doctors and Medardo Rosso's "melting" portraits. The critical history of wax, however, is fraught with gaps and controversies. After Giorgio Vasari, the subject of wax sculpture was abandoned by art historians; in the twentieth century it once again sparked intellectual interest, only soon to vanish. The authors of the eight essays in Ephemeral Bodies--including the first English translation of Julius von Schlosser's seminal "History of Portraiture in Wax" (1910-11)--break new ground as they explore wax reproductions of the body or body parts and assess their conceptual ambiguity, material impermanence, and implications for the history of Western art.
