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 91
... female artist , the art object tradi- tionally has been mute twice over : first , because art has been the exclusive domain of men , and second , because the object itself most often reflects the masculine concept of female beauty ...
... female artist , the art object tradi- tionally has been mute twice over : first , because art has been the exclusive domain of men , and second , because the object itself most often reflects the masculine concept of female beauty ...
Seite 92
... female gaze and voice to make themselves known . This female presence responds to and goes beyond the imposed limitations that are in place because of the patriarchal point of view , and sets them into a new framework , one that ...
... female gaze and voice to make themselves known . This female presence responds to and goes beyond the imposed limitations that are in place because of the patriarchal point of view , and sets them into a new framework , one that ...
Seite 147
... female gaze is always and ever underwritten and framed by the male one , the dominant and dominating cul- tural force in society . This male gaze is ever - present even in its absence , and is inscribed in the decisions of the female ...
... female gaze is always and ever underwritten and framed by the male one , the dominant and dominating cul- tural force in society . This male gaze is ever - present even in its absence , and is inscribed in the decisions of the female ...
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