Reading Rembrandt: Beyond the Word-Image Opposition
Reading Rembrandt questions the traditional boundaries between literary and visual analysis with close, side-by-side readings of some of the Dutch master’s works alongside paintings of the same era whose attribution is still debated. A new understanding of the role of visuality in our culture emerges, one that makes significant inroads, most particularly, for the study of gender in Rembrandt’s work. Demonstrating acute sensitivity to Rembrandt’s art, acclaimed scholar and author Mieke Bal gives new depth to an old master, a perspective with vast consequences for our views of gender, the artist, and the act of reading.
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The Subject of This Study
The Terms of Analysis
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Alpers Alpers's ambiguity analysis argue art history artist aspects becomes Biblical blindness body Bryson canvas castration chapter Claudius Civilis concept conflation critical culture death defmed defmition detail diegetic discourse discussed display drawing emphasizes etching event example eyes f1gure fantasy father female Figure focalization Freud gaze gender genre hand historical iconic iconographic idealization ideological interpretation Joseph literary look Lucretia meaning melancholia Meninas metaphor metonymic mirror mirror stage mise en abyme mode of reading myth narrative navel novel object painter painting paradox perspective position Potiphar pre-text primary narcissism problematic psychoanalytic rape reader realism reference reflection relation relationship Rembrandt Rembrandt van Rijn representation represented rhetoric Samson scene Searle's self-portrait self-reflection semiosis semiotic sense sexual signified social speech act status story suggests Susanna synecdoche tension textual theatricality thematic theory Tobias tradition turn verbal viewer vision visual art VISUAL RHETORIC voyeurism woman words