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 30
Seite 147
... codes of representation . Teresa de Lauretis speaks of the code of the cin- ema , and the problems of signification that ensue when the cine- matographer's hand is that of a woman , and controls the camera ; it is a female eye that ...
... codes of representation . Teresa de Lauretis speaks of the code of the cin- ema , and the problems of signification that ensue when the cine- matographer's hand is that of a woman , and controls the camera ; it is a female eye that ...
Seite 148
... codes of representation , and to her position as a woman and an artist within that world and within those codes . In other words , through their poems the reader as voyeur / voyeuse flirts with a " bird's - eye view " ( bird : slang for ...
... codes of representation , and to her position as a woman and an artist within that world and within those codes . In other words , through their poems the reader as voyeur / voyeuse flirts with a " bird's - eye view " ( bird : slang for ...
Seite 203
... codes ( Ibid . , 25 ) . This process of inscription presupposes an ac- tive role for the reader / viewer , who must be simultaneously in- side and outside all of the interpretive codes which are at play in this sort of filmic text . Let ...
... codes ( Ibid . , 25 ) . This process of inscription presupposes an ac- tive role for the reader / viewer , who must be simultaneously in- side and outside all of the interpretive codes which are at play in this sort of filmic text . Let ...
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
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