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Writing in ruins: immediacy and emotion in the English landscape garden

机译:在废墟中写作:英国风景园林中的即时性和情感性

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This collection of essays emerged in part from Luke Morgan's contention that Alexander Nagel and Christopher Wood's analysis of material objects in Anachronic Renaissance might apply equally well — perhaps even more powerfully — to gardens, in different periods and in different nations. Focusing on the ability of art to 'effect a disruption of chronological time, to collapse temporal distance', the authors of Anachronic Renaissance make a special case for visual artefacts in the early modem periodbecause they collapse 'past and present with an ease and suddenness that no text could match'. Images, they argue, 'proposed an unmediated, present-tense, somatic encounter with the people and things of the past'.1
机译:这些论文集部分源于卢克·摩根(Luke Morgan)的论点,即亚历山大·内格尔(Alexander Nagel)和克里斯托弗·伍德(Christopher Wood)对《过时的文艺复兴》中的物质对象的分析可能在不同时期和不同国家的花园中同样适用,甚至可能更有效。注重艺术的能力“影响时间的破坏,破坏时间的距离”,《过时的文艺复兴》的作者特别针对早期早期的视觉文物进行了案例研究,因为它们崩溃了“过去并呈现出一种轻松和突然的感觉,没有文字可以匹配”。他们争辩说,图像“建议与过去的人和事物进行无中介的,时态的,体细胞的相遇”。1

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