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 116
... communication , in true " trompe l'oeil / trompe d'oeil " fashion . The poem with this same title begins with a ... communicates inherent and systematic ambiguity , which decen- ters any one intepretive path for the reader . The opening ...
... communication , in true " trompe l'oeil / trompe d'oeil " fashion . The poem with this same title begins with a ... communicates inherent and systematic ambiguity , which decen- ters any one intepretive path for the reader . The opening ...
Seite 166
... communicate an ideology of power , both in what is portrayed and what is left out . While María Victoria Atencia utilizes the domestic sphere in order to contemplate other existential issues and the power of representation , Ana ...
... communicate an ideology of power , both in what is portrayed and what is left out . While María Victoria Atencia utilizes the domestic sphere in order to contemplate other existential issues and the power of representation , Ana ...
Seite 191
... communicate only an image of ( ir ) reality . The poem / collection / story / movie ends with an ambiguous shot - camera as well as gun- , simultaneously closing / opening it for the speaker / protagonist / spectator / reader's ...
... communicate only an image of ( ir ) reality . The poem / collection / story / movie ends with an ambiguous shot - camera as well as gun- , simultaneously closing / opening it for the speaker / protagonist / spectator / reader's ...
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