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Shakespeare's grotesque image of Lavinia standing on stage in tableau while her uncle blazons her mutilated body allows Shakespeare to use Lavinia's body as a living illustration, and to associate Lavinia not only with Philomela but as a kind of amalgam of Ovidian figures.
Warley states that both critical trends were more related to class issues than to literary analysis of the sequence, and he suggests that New Historicist emphasis on political subtexts in sequences and feminist focus on Petrarchan blazons are still caught up in earlier conceptual frameworks.
Most are simple, but elegant, engraved cards bearing the name of the owner; some, from the 1830s onwards, have the addition of heraldic or pseudo-heraldic blazons.
blazoned with Vergilian and Ovidian counter-perspectives on empire and conquest--as an image of and surrogate for the Queen's `body iconographic'" (68), as far as I can understand because Elizabeth was often the subject of Petrarchan blazons.
For example, Vickers compares French anatomical blazons and the woodcuts that accompanied them with contemporary anatomical dissections in order to argue that, whereas anatomical treatise relied upon a projected reintegration of the dissected body through medical knowledge, in the blazons, especially in their printed form, the part takes on the capacity to "[undermine] any integrity the poems themselves might have made" (8).
And, steeped in the exalted heights fictional chivalry endorses, after underlying the "temperamento pujante e carismatico" of Vargas Llosa, Pinon also blazons his figure with an aura of gallantry as she vicariously revives Versaillesque derring-do with this romantic depiction of the Peruvian writer: "Parecia um espadachim pronto a enfrentar, destemido, na bela Place des Vosges, os soldados do Cardeal Richelieu.
CT] takes full cognizance of this fact and proudly blazons his advertising literature for her monthly journal with the slogan "Barbara Quint's Database Searcher.
At times, Pousette-Dart places such "mustachioed" canvases one atop the other, in double or triple register, like a stack of boats or blazons.
In discussing the Amoretti, she argues that the tendency of blazons to commodify women, as in sonnet 15, "Ye tradefull merchants," is criticized within the sequence.
Uman, Deborah and Sara Morrison, eds, Staging the Blazon in Early Modern English Theatre (Studies in Performance and Early Modern Drama), Farnham, Ashgate, 2013; hardback; pp.