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- W2614684375 abstract "In the seventeenth-century dictionary The Gate of Languages Unlocked, Johann Comenius describes “Gravers cutting most curious little images in brass, and imprinting them on paper,” under a section called “The Delights of the Eyes.” These curious shapes, engraved on brass or copper plates, formed a new illustration technique in seventeenth-century prints. Engravings were reproduced in print through the duplication and reversal of their visual forms. In Francis Quarles’s Emblemes (1633) and political pamphlets, a pattern of replication and inversion appears throughout their poetic texts, engraved illustrations, and philosophical concerns. This pattern portrays the visual reading process as unsettled. In a culture where visual species, or replicas of images and objects, were thought potentially to mediate and transform what was seen, where diabolical influences interfered with the human senses, and where new visual marvels in astronomy and aesthetics were displayed and contested, visual observation was an ambivalent sensation that could alternately divine truths and deceive observers. This article will explore Quarles’s and his collaborator William Marshall’s use of rhetorical tropes, such as chiasmus, paradox, and mimesis, and references to visual technologies, such as glass prisms, “fool’s paradises,” optical glasses, and telescopes, as well as engraving itself, to interrogate vision in the context of the popular illustrated print. In the works of Quarles, these crises and marvels of visual culture create a sense of duplicity, as readers become lured by sensual visions and optical illusions." @default.
- W2614684375 created "2017-05-26" @default.
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- W2614684375 date "2017-01-02" @default.
- W2614684375 modified "2023-09-25" @default.
- W2614684375 title "Image and illusion in Francis Quarles’s emblems and pamphlets: duplication, duality, duplicity" @default.
- W2614684375 doi "https://doi.org/10.1080/02666286.2016.1259437" @default.
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