Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish PoetryBucknell University Press, 1997 - 257 Seiten This book takes a probing look at how Spanish poets of the twentieth century read objects of visual art, write poems that utilize the discursive strategy known as ekphrasis, and how, in turn, they are read by those texts. As a result of their reading practices, the artistic works "read" by the poets are inscribed in the poets' own texts, and in a variety of ways. This analysis sheds light on the poets' own distinctive stance toward many primary issues, such as textuality, representation, language, power, ideology, literature, and art. |
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Seite 108
... Edward Hopper , se ha sentado en la cama de una pensión anónima y ya no espera nada . Sin abrir tan siquiera la maleta , acaba de quitarse los zapatos porque los pies le duelen , y se ha quedado sola entre cuatro paredes , condenada a ...
... Edward Hopper , se ha sentado en la cama de una pensión anónima y ya no espera nada . Sin abrir tan siquiera la maleta , acaba de quitarse los zapatos porque los pies le duelen , y se ha quedado sola entre cuatro paredes , condenada a ...
Seite 110
... into Martín Gaite's work of art by play- ing out its blurring of reality and art within my own context , just as the shadowy figure entered that of Edward Hopper.25 At the museum I did indeed find a painting entitled 110 GETTING THE ...
... into Martín Gaite's work of art by play- ing out its blurring of reality and art within my own context , just as the shadowy figure entered that of Edward Hopper.25 At the museum I did indeed find a painting entitled 110 GETTING THE ...
Seite 191
... Edward Hopper painting that we saw in the case of the Carmen Martín Gaite text of chapter 4 , but rather into a movie , or rather , a movie set , both set and character having been artificially created in order to communicate only an ...
... Edward Hopper painting that we saw in the case of the Carmen Martín Gaite text of chapter 4 , but rather into a movie , or rather , a movie set , both set and character having been artificially created in order to communicate only an ...
Inhalt
Acknowledgments | 11 |
How Manuel Machado Did Not Get the Picture | 33 |
Rafael Alberti and Pablo | 53 |
Urheberrecht | |
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Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish ... Margaret Helen Persin Eingeschränkte Leseprobe - 1997 |
Getting the Picture: The Ekphrastic Principle in Twentieth-Century Spanish ... Margaret H. Persin Keine Leseprobe verfügbar - 1997 |
Häufige Begriffe und Wortgruppen
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