This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.)
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:unisa/oai:uir.unisa.ac.za:10500/17931 |
| Date | 11 1900 |
| Creators | Cornew, Clive |
| Contributors | Mare, E. A., Van den Berg, D. J. |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | 1 online resources (320 leaves) |
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