Notes on Gilfillan's 'Gallery of Literary Portraits': Godwin, Foster, Hazlitt, Shelley, Keats

1846 ◽  
Author(s):  
Thomas De Quincey
Keyword(s):  
Literary Portraits

Musical and Literary Portraiture

2017 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
Crucial Role ◽  
Gertrude Stein ◽  
Literary Portraits ◽  
The Relationship ◽  
Poetry And Music

The first chapter examines musical portraits of literary figures. It first explores Virgil Thomson’s multiple works in the genre including his portrait of Gertrude Stein, to interpret the influence of Stein’s modernist literary portraits on Thomson’s compositions. It then turns to Pierre Boulez’s orchestral portrait Pli selon pli: portrait de Mallarmé. Analyzing Boulez’s incorporation of elements of Stéphane Mallarmé’s poetry as well as the complex and idiosyncratic theories regarding the relationship between poetry and music that Mallarmé developed in his essays. Through the discussion of these portraits, the chapter addresses the crucial role of language in the musical representation of identity.

For facts a most profound contempt

2017 ◽  
Author(s):  
Jerome Boyd Maunsell
Keyword(s):  
Joseph Conrad ◽  
First World War ◽  
World War ◽  
The First World War ◽  
Literary Portraits ◽  
The Difference ◽  
First World

This chapter examines Ford’s reminiscences—Ancient Lights and Certain New Reflections (1911), Thus to Revisit (1921), Joseph Conrad: A Personal Remembrance (1924), Return to Yesterday (1931), and It Was the Nightingale (1934). The chapter begins with a discussion of different degrees of autobiography, and the difference between autobiography and autobiographical forms including the roman à clef. It then traces the evolution of Ford’s reminiscences from his early “Literary Portraits” up to Mightier Than the Sword (1938). It argues that Ford forged a new genre, fusing fact and fiction to portray his contemporaries. Ford’s reminiscences are seen as group portraits, and Ford’s accounts of Conrad, James, Lewis, Stein, and Wells are discussed. The chapter also examines how the pivotal experience of the First World War was avoided by Ford in all his autobiographies, and how Ford also omitted his relationships with women in his reminiscences.

scholarly journals The Literary Portrait from Pushkin to Dostoevsky

2020 ◽  
pp. 86-104
Author(s):  
Elena V. Stepanian-Rumyantseva
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Dynamic Nature ◽  
Human Personality ◽  
Literary Portraits ◽  
Existential Choice ◽  
Literary Portrait ◽  
The 19Th Century ◽  
Physical Resemblance ◽  
As If

The article explores the peculiarities of literary portraits and studies the interconnections and contrasts between painted and written portraits. The recognizability of a portrait in pictorial art is attained not only through physical resemblance but also through “artistic deformations” that the author introduces to the appearance of the portrayed. In a literary portrait, identification is achieved both by verbal and plastic detailing and by addressing the reader’s inner experience and imagination. Traditionally, the literary portrait in the Russian literature of the 19th century is based mostly on plastic characteristics, comparisons, and color accents, and because of this, it is often defined as “pictorial”. However, portraits by Pushkin and Dostoevsky stand out as exceptionally original, as if created from a different material. Pushkin avoids detailing, instead, he presents a “suggestive” portrait, i.e., a dynamic outline of the personality. The reader’s imagination is influenced not by details, but rather by the dynamic nature of Pushkin’s characters. Dostoevsky does not inherit Pushkin’s methods, though he also turns to a dynamic principle in describing the heroes of his novels. When they first appear, he presents them as if from different angles of vision, and their features may often be in discord, which makes the reader sense a contradictory impact of their personalities, as well as of their portraits. This kind of portrait is a dynamic message, where the reader follows the hero along unexpected and contrasting paths that the author previously mapped for him. From the beginning to the very end of their works, these two classics of Russian literature present the human personality as a being in a state of life-long development, always changing and always free in its existential choice.

Dekadencka Madonna, Biała Diablica, Lorelei... Zinaida Gippius w egodokumentach współczesnych

2017 ◽  
Vol 10 (0) ◽  
pp. 112-126
Author(s):  
Iwona Krycka-Michnowska
Keyword(s):  
The Other ◽  
Internal Conflict ◽  
Silver Age ◽  
Literary Portraits ◽  
The One ◽  
Significant Figures ◽  
Zinaida Gippius

The paper is devoted to Zinaida Gippius’s literary portraits left on the pages of ego-documents, especially memoirs. She was one of the most significant figures of the Russian Silver Age. At the end of the 19th and the beginning of the 20th centuries, the writer created her own legend and image based on internal conflict, which in turn influenced the diversity of her portraits in memoirs. Their analysis leads to the conclusion that these portraits fit into the stereotyped, ambivalent perception of a woman, and majority of the authors reveal the tendency to mythologize and dehumanize her heroine: on the one hand her divinization, and on the other – reification. It also proves that the memoirist had perpetuated and widened the legend about her.

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