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 118
... action in order to destroy artistic illusion and thus prove the absolute power of the artist " ( Bretz 1982 , 258 ) . The speaker of Gil de Biedma's text uses the literary strategy that character- izes the poet's work in order to enrich ...
... action in order to destroy artistic illusion and thus prove the absolute power of the artist " ( Bretz 1982 , 258 ) . The speaker of Gil de Biedma's text uses the literary strategy that character- izes the poet's work in order to enrich ...
Seite 135
... action . / The center is the void . / Object / blind to my own vision , petrified / profile of [ a ] gloomy boy , the man that I contemplate does not de- scend / from his memory but from his forgetfulness . ) It is fascinating to note ...
... action . / The center is the void . / Object / blind to my own vision , petrified / profile of [ a ] gloomy boy , the man that I contemplate does not de- scend / from his memory but from his forgetfulness . ) It is fascinating to note ...
Seite 203
... action " ( Ibid . , 23 ) . Buñuel's Chien andalou for Talens is the perfect example of the subversiveness of this poetic discourse ; that which is underscored is the multi- plication of the text's signifying possibilities , with the ...
... action " ( Ibid . , 23 ) . Buñuel's Chien andalou for Talens is the perfect example of the subversiveness of this poetic discourse ; that which is underscored is the multi- plication of the text's signifying possibilities , with the ...
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
Alberti alien allows appear art forms art object artistic attempts becomes body chapter closing codes collection communicate concept considered continually conventions created creation creative critic cultural desire discourse ekphrasis entitled example fashion female final focus frame gaze Gimferrer hand Ibid issue language limits lines linguistic literary literature look Machado male Martín Gaite means mirror namely nature object offers once opening original painter painting patriarchal perspective photograph Picasso play poem poet poet's poetic text poetry portrait position possible presence produce question reader reading reality reference reflects regard relationship represent representation sense silence simultaneously space Spanish speak speaker story strategy subverts suggests takes Talens textual tion tradition truth turn University Press utilizes various verbal verse vision visual visual art voice woman women writing