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. |
Im Buch
Ergebnisse 1-3 von 8
Seite 112
... house after closing time . The rules of the society that surrounds the carnival are still supposedly in place ; but the very existence of the carnival fun house , with its subversion of socie- tal laws and limits gives witness to the ...
... house after closing time . The rules of the society that surrounds the carnival are still supposedly in place ; but the very existence of the carnival fun house , with its subversion of socie- tal laws and limits gives witness to the ...
Seite 178
... house , to name only a few . In turn each of these partici- pants ' perspectives , choices , and motions are mediated by the material , mechanical , technical apparatus , and its creators . And while aristocratic forms of art such as ...
... house , to name only a few . In turn each of these partici- pants ' perspectives , choices , and motions are mediated by the material , mechanical , technical apparatus , and its creators . And while aristocratic forms of art such as ...
Seite 228
... house in front , number 2 ( number 6 then ) , > that was of [ the house of ] her paternal grandparents . In order to avoid detours , the author since decided to gird herself to the house of her birth " ) . Thus , it seems to me that the ...
... house in front , number 2 ( number 6 then ) , > that was of [ the house of ] her paternal grandparents . In order to avoid detours , the author since decided to gird herself to the house of her birth " ) . Thus , it seems to me that the ...
Inhalt
Acknowledgments | 11 |
How Manuel Machado Did Not Get the Picture | 33 |
Rafael Alberti and Pablo | 53 |
Urheberrecht | |
6 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
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
alien Ana Rossetti art forms art object artistic Buñuel's Calvin Klein camera Carmen Martín Carmen Martín Gaite chapter cinema codes created creative cultural dialectic ekphrasis ekphrastic text entitled female gaze film filmic focus frame Fuertes Gaite's Gil de Biedma Gimferrer's I/eye Ibid illusion intertextual issue Jaime Gil Jenaro Talens José Angel Valente language liminality lines of verse linguistic literary literature Madrid male gaze Manuel Machado María Victoria María Victoria Atencia Martín Gaite metaphor metapoetic mirror muerte nombres ojos Pablo Picasso painter painting patriarchal Pere Gimferrer perspective photograph pintura poem poema poesía poet poet's poetic speaker poetic text poetry portrait postmodern presence problematic question Rafael Alberti reader reading reality reference relationship representation rupture silence simultaneously Spanish Spanish poetry story strategy subverts text's textual tion tradition twentieth-century Ugalde Un chien andalou University Press utilizes Valente verbal text viewer vision visual art voice woman women words