The awakening process has received limited attention in comparison with other phases of the circadian cycle. Among its foci, Awakenings in Word and Image takes up persistent allusions to downward movement in such depictions. Despite the familiar phrase, “wake up,” intimations of downwardness or falling often appear in tandem with retrieval of a depicted subject's identity following sleep. Awakenings in Word and Image also makes clear that, while this process is body-based, such a designation is often applied to enhancements of consciousness, whether within an individual or across a culture. On the verbal side, material from Plato, the New Testament, Proust, and other sources is considered. Visual art discussed includes work by Italian frescoist Taddeo Zuccari and acclaimed New York painter Vincent Desiderio .
Nathaniel Wallace, a comparatist by training (Ph.D., Rutgers), has taught English in South Carolina and elsewhere. Brill published his Scanning the Hypnoglyph in 2016. He has held NEH and Camargo fellowships and has lectured in Norway and Romania on Fulbright grants.
Preface Acknowledgements List of Figures
1 Introduction: Awakening as a Falling-into-Place
2 Backgrounds
Eschatological and Other Precedents: Egyptian to Medieval
1 Aurora’s Hour: Awakenings into and of the Early Modern
3 Resurrection’s Afterlife
1 The Nineteenth – the Century of Emerson, Whitman, Dickinson, Ibsen
2 Proustian and Other Modernist Awakenings (Husserl, Kafka, Larkin, Wilbur)
4 Disconnections and Fiascos: Arrival of the Postmodern
1 A Descension of Poems (Lowell, Larkin bis, Ashbery, Others)
2 Prose Insurgencies
5 Awakening from the Postmodern: Paintings by Vincent Desiderio
1 Savant (1994) – Fully Awake at the End of the Postmodern
2 Sleep I (2004) – Awaiting an Awakening
6 Conclusion: Reveries of Self-Location
1 Vincent Desiderio’s Double Self-Portrait (2020)
2 David Yaghjian’s Scene LXII – Hand on Head (2018)
Bibliography Index
Readers interested in the circadian cycle, the classical tradition, cognitive approaches, or inter-art criticism. Students and teachers of comparative literature or art history may find this book of particular interest.