GRGR(30): You will want cause and effect.

[Otto Sell]

The only thing on Mannerism I read (I very much like the: "Post-Renaissance
predecessor to PoMo") is by Gustav René Hocke: *Die Welt als Labyrinth -
Manierismus in der europäischen Kunst und Literatur - von 1520 bis 1650 und
in der
Gegenwart* in the 1987 Rowohlt edition. But the two parts came out in 1957
resp. 1959 so the info that the term was invented in 1965 by Mr. André
Chastel puzzled me.

- Big thing (literally), but I don't know if it has been translated. I
hadn't read it if not the index alone seemed to be so relevant to GR and
Pynchon's way of writing in general. All the Renaissance-painters that are
mentioned in the other posts are mentioned here too, but in his intro Hocke
takes a much wider approach, speaking of at least five important European
periods of manieristic artistic expressions: Alexandria (350-150 BC), the
*Silver Latinity* in Rome (14-138), in the late middle ages the conscious
manieristic epoch of 1520-1650, Romanticism, esp. from 1800-1830 and last
not least the "present" period which he dates from 1880-1950. Emphasis on 3
and 5. I guess he would consider "our" literary Postmodernism as manieristic
Modernism.
The book shows great pictures by Parmigianino, Pontormo, Tintoretto,
Tibaldi, Arcimboldi and Bruegel along with Picasso, Max Ernst, Dali and El
Greco.
In his text examples he quotes (among many others) Allan Tate (1889-1979):
*Null
Stationen, wo die Zeit ihre leichten Absätze umkehrt
Um zweipfadig zu gehen, um aus Vorwärts Rückwärts zu machen
Deren lange Koordinaten Geburt und Tod sind,
Und Null Ursprung des Atems.*


----- Original Message -----
From: Dave Monroe <monroe at mpm.edu>
To: Mark Wright AIA <mwaia at yahoo.com>
Cc: <pynchon-l at waste.org>
Sent: Thursday, July 06, 2000 4:01 PM
Subject: Re: GRGR(30): You will want cause and effect.


> ... well, if there's one thing I can say about Mannerism, it's that it
> seems to be an even more slippery term than postmodernism.  Indeed, just
> about anything I've ever read on the subject starts off by noting just how
> contested, controversial, even, the term is.  Not only was is not used by
> anyone involved, even those who do deploy it seem esp. concerned to
> emphasize just how much of a critical, scholarly, academic construct it
> is.  See, for example, off the top of my head, and to cover a couple of
> decades of scholarship on th subject, John Shearman's Mannerism (1970s)
and
> Giancarlo Maiorini's The Portrait of Eccentricity: Arcimboldo and the
> Mannerist Grotesque.  But there do seem reasons why certain "mannerisms"
> have become of interest to, perhaps redeemed by, certain "postmodernisms,"
> note the resurgence of interest in Arcimboldo, for exaple (Maiorini;
Pontus
> Hulten, ed., The Arcimboldo Effect; Roalnd Barthes' exhibition catalog
> monograph; though, of course, teh surrealists had already "redeemed" his
> work ...).  And, while I'm hesitant as well to consider Michaelangelo a
> "psotmodernist" avant la lettre, I do believe David (how many DMs are on
> this list?) is correct in that MB did paint in quite a few conetmporary
> figures under the guise of Biblical figures, in ways not entirely lacking
> in a certain sense of irony.  But, Mark, I do believe that typing in an
> http:// afore yr address will render the link active--if my http:// here
> shows up blue, well, there you go ...
>
> Mark Wright AIA wrote:
>
> > Howdy
> > --- David Morris <fqmorris at hotmail.com> wrote:
> >
> > > Back to Mannerism, the Post-Renaissance predecessor to PoMo.
> > > Michaelangelo
> > > was a leading genius in this go-beyond-the-rules school.  Jokes (for
> > > knowledgable insiders only) abounded.  Later schools, Baroque &
> > > Rococco
> > > relied on illusion/fantasy for their new worlds.  Mannerism was more
> > > subversive, sly.  Things looked "correct" on the surface, but the
> > > joke's on
> > > you!
> >
>