Hollow Men : : Writing, Objects, and Public Image in Renaissance Italy / / Susan Gaylard.

• Superior document: Title is part of eBook package: De Gruyter Fordham University Press Complete eBook-Package Pre-2014
• VerfasserIn: Gaylard, Susan,
• Place / Publishing House: New York, NY : : Fordham University Press, , [2013]; ©2013
• Year of Publication: 2013
• Language: English
• Physical Description: 1 online resource (372 p.)
• Other title: Frontmatter --; Contents --; Acknowledgments --; I. MONUMENTS, IMITATION, AND THE NOBLE IDEAL IN EARLY RENAISSANCE ITALY --; Introduction: Reinventing Nobility? Artifacts and the Monumental Pose from Petrarch to Platina --; 1. How to Perform Like a Statue: Ghirlandaio, Pontano, and Exemplarity --; 2. From Castrated Statues to Empty Colossi: Emasculation vs. Monumentality in Bembo, Castiglione, and the Sala Paolina --; II. PRINT MONUMENTS, EXPOSURE, AND STRATEGIES OF CONCEALMENT --; 3. Banishing the Hollow Man: Print, Clothing, and Aretino’s Emblems of Truth --; 4. Heroes with Damp Brains? Image vs. Text in Printed Portrait-Books --; 5. Silenus Strategies: The Failure of Personal Emblems --; Afterword --; Notes --; Works Cited --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780823252183; 9783111189604; 9783110707298
• DOI: 10.1515/9780823252183?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Susan Gaylard.

This book relates developments in the visual arts and printing to humanist theories of literary and bodily imitation, bringing together fifteenth- and sixteenth-century frescoes, statues, coins, letters, dialogues, epic poems, personal emblems, and printed collections of portraits. Its interdisciplinary analyses show that Renaissance theories of emulating classical heroes generated a deep skepticism about self-presentation, ultimately contributing to a new awareness of representation as representation.Hollow Men shows that the Renaissance questioning of “interiority” derived from a visual ideal, the monument that was the basis of teachings about imitation. In fact, the decline of exemplary pedagogy and the emergence of modern masculine subjectivity were well underway in the mid–fifteenth century, and these changes were hastened by the rapid development of the printed image.