Emblem books—books containing pictorial representations whose symbolic meaning is expressed in words—were produced in great quantities and in numerous languages during the sixteenth and seventeenth centuries. Because literary critics and art historians increasingly recognize the importance of the emblem in Renaissance and Baroque studies, this book answers the need for a bibliography listing the locations of all known emblem books in Spanish, as well as those translated into Spanish, written by Spaniards in other languages, and polyglot editions that contain a Spanish text. Covered in this bibliography are all emblem books published from the beginning to the end of the Spanish Golden Age, as well as a wide range of secondary sources on relevant subjects, among them mythography, paradoxography, numismatics, fetes, funerals, proverbs, apothegms, antiquarianism, collecting, and pertinent studies in art history and architecture. Providing call numbers for library locations, information on facsimile reprints, and microform editions, the work is extensively indexed—by date and place of publication, by printers and booksellers, by authors and artists, and by dedicatees, as well as by subject.
One is a science, the other an art; one useful, the other seemingly decorative, but mathematics and music share common origins in cult and mystery and have been linked throughout history. Emblems of Mind is Edward Rothstein’s classic exploration of their profound similarities, a journey into their “inner life.” Along the way, Rothstein explains how mathematics makes sense of space, how music tells a story, how theories are constructed, how melody is shaped. He invokes the poetry of Wordsworth, the anthropology of Lévi-Strauss, the imagery of Plato, and the philosophy of Kant. Math and music, Rothstein shows, apply comparable methods as they create their abstractions, display similar concerns with ratio and proportion, and depend on metaphors and analogies to create their meanings. Ultimately, Rothstein argues, they reveal the ways in which we come to understand the world. They are images of the mind at work and play; indeed, they are emblems of Mind itself.
Jacques Barzun called this book “splendid.” Martin Gardner said it was “beautifully written, marvelous and entertaining.” It will provoke all serious readers to think in new ways about the grand patterns in art and life.
“Lovely, wistful. . . . Rothstein is a wonderful guide to the architecture of musical space, its tensions and relations, its resonances and proportions. . . . His account of what is going on in the music is unfailingly felicitous.”—New Yorker
“Provocative and exciting. . . . Rothstein writes this book as a foreign correspondent, sending dispatches from a remote and mysterious locale as a guide for the intellectually adventurous. The remarkable fact about his work is not that it is profound, as much of the writing is, but that it is so accessible.”—Christian Science Monitor
This book of essays—carefully written by twenty-four authorities on their subjects—provides a deep understanding of and appreciation for the coherence, primacy, and importance of the search for identity in the divergent areas of Latin America, the Caribbean, and Europe.
A rich body of mythology and literature has grown around the Celtic ritual known as the Feis of Tara or “marriage of sovereignty”—ancient ceremonies in which the future king pledges to care for the land and serve the goddess of sovereignty. Seamus Heaney, whose writing has attracted the overwhelming share of critical attention directed toward contemporary Irish poetry, has engaged this symbolic tradition in some of his most significant—and controversial—work.
Seamus Heaney and the Emblems of Hope explores Heaney’s use of the family of sovereignty motifs and redresses the imbalance of criticism that has overemphasized the theme of sacrifice to the detriment of more optimistic symbols. Moreover, Moloney reviews the development of the marriage motif in Irish poetry from the ninth to the twenty-first centuries with a focus on Heaney’s adaptations from The Frenzy of Sweeney and The Midnight Court and on the work of such poets as Kinsella, Montague, Boland, and Ní Dhomhnaill. Karen Marguerite Moloney examines the central role that Heaney assigns the Feis of Tara in his response to the crisis of Ulster and to the general spiritual bankruptcy of our times, showing in his verse how the relationship of the male lover to the goddess—particularly in her more repugnant guises—serves as prototype for the humility and deference needed to repair the effects of English colonization of Ireland and, by extension, centuries of worldwide patriarchal abuse.
Through close, sustained readings of poems previously overlooked or misinterpreted, such as “Ocean’s Love to Ireland,” “Come to the Bower,” and “Bone Dreams”—poems that Irish feminist critics have deemed flawed and distressingly sexist—Moloney refutes views that have long stood unchallenged. She also considers the direction of Heaney’s more recent poems, which continue to resonate to the twin demands of conscience and artistic integrity.
An impeccably researched and immensely readable work, Seamus Heaney and the Emblems of Hope reveals that Heaney’s poetry offers a reverence for archetypal femininity and Dionysian energy that can counter the sterility and violence of postcolonial Irish life. Moloney shows us that, in the tradition of poets who preceded him, Heaney turns to the marriage of sovereignty to encode a message for our times—and to offer up emblems of hope on behalf of us all.