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 39
... hand that grasps the " guante de ante " could be interpreted as a meta- phor of both Velázquez and Machado's representation of power . In the Velázquez portrait of Don Carlos , the Infante holds a glove in the right hand , and in the ...
... hand that grasps the " guante de ante " could be interpreted as a meta- phor of both Velázquez and Machado's representation of power . In the Velázquez portrait of Don Carlos , the Infante holds a glove in the right hand , and in the ...
Seite 40
... hand holding the glove proceeds from Velázquez's portrait of Don Carlos rather than of the king , the image of the hand and glove also posits another facet of Ma- chado's uncanny meditation on the problematic nature of repre- sentation ...
... hand holding the glove proceeds from Velázquez's portrait of Don Carlos rather than of the king , the image of the hand and glove also posits another facet of Ma- chado's uncanny meditation on the problematic nature of repre- sentation ...
Seite 204
... hand grasping a straight - blade razor is about to cut it open . This shot from Buñuel's film appears on both the front and back cover of Talens's Ojo tachado , and , for this reader , serves as a metaphor of Buñuel's filmic discourse ...
... hand grasping a straight - blade razor is about to cut it open . This shot from Buñuel's film appears on both the front and back cover of Talens's Ojo tachado , and , for this reader , serves as a metaphor of Buñuel's filmic discourse ...
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 |
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