Abstract

Lloyd charts the ubiquity, fluidity, and dynamism of sculptural metaphors in the texts of an array of Romantic writers to reveal the paradoxes and anxieties underlying the growing perception that the statue is no longer representative of agreed-upon aesthetic and political values. She concludes that sculpture has begun to "move" across the political map, abandoning traditional sites and entering the streets of a rapidly changing social world where she sees the prevalence of the Pygmalion myth as symptomatic of the changing status of women and of the artist's relationship to both his muse and his public. (In French)

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Additional Information

ISSN
1536-0172
Print ISSN
0146-7891
Pages
pp. 151-165
Launched on MUSE
2006-12-11
Open Access
No
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