附註:Includes bibliographical references (pages 141-149) and index.
1. Introduction -- 2. Gazing Toward Jerusalem: Space and Perception in Pearl. Seeing in the Garden. The Vision of the New Jerusalem. The Reader and the Interpretive Gaze -- 3. Reading Signs: Purity's Eyewitness in History. Anagogical Images: Imitation in the Age of Grace. The Parabolic Scenes: History and Vision -- 4. Patience: The Dialectics of Inside/Outside. The Ship to Tarshish: A View from the Decks. The Whale: Blind Sight and Labyrinthine Interior. The Woodbine: Perception as Comic Drama -- 5. The Framing of the Gaze in Sir Gawain and the Green Knight. The Interpretive Gaze: The Position of the Spectator. The Interpreter's Gaze: The Framework of Judgment -- 6. Conclusion. The Focused Gaze in Ricardian Narrative. The Poetics of Sight in English Mysticism. Ocular Skepticism and Medieval Narrative.
摘要:Seeing the Gawain-Poet offers the first full-length study of the descriptive art found in four medieval poems - Sir Gawain and the Green Knight, Pearl, Purity, and Patience. Generally accepted as being the work of a single author, alternately known as the Pearl- or the Gawain-poet, these fourteenth-century poems are bound together in British Museum Cotton Nero A.x. Readers of the poems rarely fail to admire their descriptive art - the minutely detailed and precisely. , Visualized depictions of costume, landscape, interior furnishings, or storms at sea. It is Sarah Stanbury's achievement to place the poet's use of visual detail in an illuminating, new interpretive context. Sarah Stanbury examines the Gawain-poet's extraordinary powers of physical description and the ways in which the poems focus on the moment and act of vision. With equal adeptness, she grounds her discussion in medieval aesthetics, contemporary narrative theory, and. , Iconographic study to explore the ways in which the poet consistently uses description as a narrative tool for dramatizing the limitations of human experience and knowledge. In a speculative conclusion, Stanbury explores some of the anxieties about sight and knowledge as reflected in English mysticism and contemporary intellectual life and as represented in poetry. Through a comparison of the Gawain-poet's visualized descriptive art with that of his contemporaries. , Particularly Chaucer, her study concludes that the Gawain-poet was unique among English poets of this time in consistently using a focused visual poetics as a mode of description and as a mode of thought.
