No description available.

This thesis has evolved from William Blake's phrase, "Imitation is Criticism" written in the margin of Sir Joshua Reynolds's Discourses on Art. As a concept central to the production and criticism of art, imitation has largely been explored in the philosophical context of aesthetics rather than in terms of its practical application in image-text studies of the Romantic period. It has also traditionally served as a marker for the period designation 'Romantic', which in image-text studies continues to be played out in terms of the transition from imitative to expressive modes of making and response. Yet this notion of periodization has proven problematic in studying the response to 'false criticism' within what Wallace Stevens calls that 'corpus of remarks about painting'. These remarks reveal an important tension within imitation as a way of making something like something else, but also as a means of characterizing the relationships that underpin that resemblance. This tension not only occupies a central place in the concurrent development of art criticism and literary criticism in the period, but also offers a new foundation for the interdisciplinary study of image-text relationships in the period. The thesis is divided into two parts, each guided by the important role that imitation plays in the fight against 'false criticism' with respect to the visual arts. The first part examines the tension within imitation from the standpoint of artists and connoisseurs who expressed concern about the excesses of description in asserting the need for a credible art criticism while at the same time realizing its inevitability. The second part examines the tension within imitation from the standpoint of the American artist Washington Allston and his friend Samuel Taylor Coleridge, both of whom used this tension to advantage in setting forth a lexicon and methodology that could account not only for the 'specific image' described, but also the geometrical and structural relationships that underpin that image.

現代文學與現代藝術之間，有著千絲萬縷的關係，可是在具體操作中，往往被分開來，各自獨立開展研究。自「文化研究」興起，學界方才將兩者結合起來，二十世紀上半葉中國文學界關注英國畫家比亞茲萊(Aubrey Beardsley )(1872--1898)是很好的切入口，因諸多新文學作家(如魯迅、聞一多、梁實秋、邵洵美、郁達夫、葉靈鳳……)都對比亞茲萊有間接或直接的論述。 / 本文將比亞茲萊和中國現代文學結合研究，不囿於文化研究、比較文學研究或視覺文化研究的幾個範疇，嘗試在中國現代文學的領域作跨學科研究，除了發掘學界所忽略的原始材料外，也會從翻譯、出版、藝術、文化、思想幾個領域探討「比亞茲萊在中國」這一現象帶出的「中國現代性」思考。 / 本文導言部份會簡介比亞茲萊在中國現代文學與出版界的再現情況，接著會評述中國在比亞茲萊研究這一學術領域的成果及不足之處，然後從本論文的研究概念、方法與主題進入正式論述。本文第一章會探討被稱為「中國比亞茲萊」的作家葉靈鳳的文字與圖像創作，從一系列原始材料的鋪展與圖文對讀中，筆者將質疑「中國比亞茲萊」這稱謂的實質內容，從而呈現出歷來學者對葉靈鳳及創造社研究的誤讀之處。本文第二章會詳細討論魯迅編《比亞茲萊畫選》的小引及選畫問題，筆者將以西文原典證明歷來學界對小引是「魯迅寫」的錯誤認知，本文將從小引的「魯迅硬譯」開始，探討魯迅的藝術觀與其文字作品呈現精神世界的契合點。本文第三章將以比亞茲萊與中國現代文學中的世紀末思潮為題，探討幾個中國作家筆下呈現的比亞茲萊，筆者將以專題形式討論郁達夫的頹廢與比亞茲萊的異同；梁實秋、聞一多留美歲月中的比亞茲萊論述；張愛玲小說中把比亞茲萊放在第二次世界大戰中的意義。本文第四章將從出版史的角度，考察一個世紀以來比亞茲萊畫冊/圖像在中國的出版情況，探討其中的文化、政治、社會意義。 / 研究比亞茲萊在中國的現象，從百年來中國現代社會的建立，到中國作家不同語境中比亞茲萊的呈現，最終會落入對比亞茲萊藝術「現代性」的思考，本文總論部份將探討比亞茲萊的「中國式面孔」帶來的「中國現代性」迷思，呈現中國現代文學與西方現代藝術糾纏而複雜的面相。 / Modern literature and contemporary arts are inter-related, yet they have been usually regarded as completely different and independent perspectives in academic researches. Cultural Studies is the first academic field to combine these two perspectives for cultural phenomena explorations. The attention and discussion on English illustrator Aubrey Beardsley (1872 - 1898) by the Chinese literature circle (including writers such as Lu Xun、Wen Yiduo、Liang Shiqiu、Shao Xunmei、Yu Dafu、Ye Lingfeng etc.) in early 20th century could serve as a proper entry point for the study of interaction between literature and picture. / This paper will implore Beardsley and modern Chinese literature, not only by applying the theories of cultural studies, comparative literatures and visual arts, but also making an attempt at an interdisciplinary study based on modern Chinese literature. It will be studied how the phenomenon of "Beardsley in China" has led to the thinking of "Modernity of China" through different perspectives including translation, publication, arts, culture and philosophy. / To start, the prelude shall give a brief introduction on the representations of Beardsley in Chinese modern literature and publishing industry. The studies on the topic of "Beardsley in China" and its inadequacies will be commented, followed by an outline of the research concept and methodology adopted in the paper leading to the discourse. The first chapter will focus on text and visual works by the writer Ye Lingfeng, aka Chinese Beardsley. Through the comparative reading of original texts and visual materials, the author challenges the validity of "Ye Lingfeng as Chinese Beardsley" and argues there has been miss-reading of Ye Lingfeng and "Creation Society" (創造社) by scholars in previous studies. In chapter 2, the Introduction and selection of paintings in "The Selected Paintings of Aubrey Beardsley" (《比亞茲萊畫選》) edited by Lu Xun is thoroughly deliberated. Reference will be taken from the original English text to substantiate the argument that the Introduction was actually translated by Lu Xun instead of written by him as miss-interpreted by many scholars. Along this argument, the thesis will further explore how Lu Xun perceived arts and its relationship with his written works. How Beardsley and "Decadence" were represented in works of various important Chinese writers including Yu Dafu, Liang Shiqiu、Wen Yiduo and Eileen Chang is discussed in detail in Chapter 3, followed by an account of the publication history of Beardsley’s works in China and its cultural, political and social significance in Chapter 4. / The study of Beardsley in China under the context of development of Chinese society in the past century and its representations in various Chinese writers’ works will lead to review ofthe modernity of Beardsley’s arts. In the conclusion, the thesis will sum up the myth of "Modernity of China" brought about by Chinese face of Beardsley and reveal the intricate and complicated forms of modern Chinese literature and contemporary western arts. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 徐霞. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 219-232). / Abstracts in Chinese and English. / Xu Xia.

A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.

Thesis (Ph. D.)--University of Wisconsin-Madison, 2002. / Includes bibliographical references (leaves 254-263). Also available on the Internet.

Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.

No description available.

Thesis (doctoral)--Åbo Akademi, 2004. / Added thesis t.p. inserted. Includes bibliographical references (p. 207-221) and index.

Thesis (Ph. D.)--University of California, San Diego, 2005. / Vita. Includes bibliographical references (leaves 263-269).

Thesis (doctoral)--Åbo Akademi, 2004. / Added thesis t.p. inserted. Includes bibliographical references (p. 207-221) and index.