Dana Arnold
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Using the trope of the line, this chapter considers the relationship between prints and drawings and the embodied processes in their production. The ways in which the line operates as a means of verbal and visual ekphrasis is explored through the anachronistic juxtaposition of renaissance and eighteenth-century theories of drawing and Deleuzian–Bergsonian and Benjaminian theories of lines and images. The feminine trace is revealed in Hogarth’s ‘line of beauty’ and this gendered notion of recording the past is extended into the case study of the rediscovery of the Villa of the Papyri, which remains underground and unseen. Here the Derridean idea of drawings as being an act of blindness is combined with the bodily experience of space.

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Architecture and ekphrasis

Space, time and the embodied description of the past


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