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A classic study of the allegorical power of love in literature, traced through the medieval and Renaissance periods.
Jean-Honore Fragonard (1732-1806) was a French painter whose late manner is distinguished by remarkable facility, exuberance, and hedonism. A prolific artist, Fragonard produced more than 550 paintings. The J. Paul Getty Museum s Fragonard masterpiece, "The Fountain of Love," is part of a series of his most striking works called the Allegories of Love, exquisite paintings that convey an atmosphere of intimacy and eroticism.This lavishly illustrated book compares and analyzes the compositions, iconography, and sources of the Allegories in the context of ancien regime Preromanticism. The author discusses the transcendental aspect of love in the Allegories and the concept of Romantic love and painting on the eve of the French Revolution. The book accompanies "Consuming Passion: Fragonard s Allegories of Love," an exhibition of the artist s work that opens at the Sterling and Francine Clark Art Institute on October 28, 2007, and at the J. Paul Getty Museum on February 12, 2008."
Spenser's Allegory of Love approaches the major characters in Books III, IV, and V of The Faerie Queene as fictional personages who function psychically according to Renaissance sexual psychology and physically according to Renaissance sexual physiology. This approach enables readings of the quests in their own peculiar, allegorical way as imitations of actions. For each of the questers - Britomart, Florimell, Scudamour, and Timias - union with a loved one is the goal; and that goal is achieved, however problematically, in each of the quests. When the interwoven quests, which begin in Book III, continue through Book IV, and, with Britomart's quest, into Book V, are separated out and explicated, these three books of Spenser's Faerie Queene can be read so as to constitute a social vision.
In the work he considered his masterpiece, Persiles and Sigismunda, Cervantes finally explores the reality of woman--an abstraction largely idealized in his earlier writing. Traditional critics have perpetuated this disembodied ideal woman: "Every Man," claimed the translators of the 1706 Don Quixote, has "some darling Dulcinea of his Thoughts." As Diana de Armas Wilson shows, however, Cervantes himself envisioned the radical embodiment of "Dulcinea" in the later Persiles, a pan-European Renaissance allegory. Wilson illuminates Cervantes's strategic use of the ancient genre of Greek romance to contest various chivalric fictions about women, love, and marriage--fictions collapsing under the constraints of an emerging bourgeois culture. Taking as her subject Cervantes's erotic imperative--to leave behind "barbaric" notions of love in quest of a new conceptual space--Wilson demonstrates how the heroes of the Persiles, unlike Don Quixote, learn to cross the borders of difference. Their journey toward marriage is illustrated by thirteen inset "exemplary novels," perhaps the most exploratory of Cervantes's writings. Allegories of Love not only examines the fundamental importance of sexual and cultural difference in Cervantes's last romance, but also reveals the historical conditions of representation itself during the late Renaissance. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Combining the history of ideas and the history of emotions, this work explores the convergence between political and cultural ideas of Europe and the idea of love in the period between the two world wars. It investigates European unity from a political viewpoint, but also from cultural and symbolic ones, taking a critical stand towards Euro-centricism.

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