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 37
... mind to commit certain inaccuracies , which are totally neces- sary to my intention " [ Machado's italics ] ) ( Carballo Picazo 1967 , 108 ) . My reason in mentioning Machado's own words in regard to his " inexactitudes ...
... mind to commit certain inaccuracies , which are totally neces- sary to my intention " [ Machado's italics ] ) ( Carballo Picazo 1967 , 108 ) . My reason in mentioning Machado's own words in regard to his " inexactitudes ...
Seite 134
... mind's I / eye , and freely concedes that the power of the image resides in what it is not : " el modelo no es vida " ( " the model is not life ) , " no imita la vida " ( " it does not imitate life " ) , " reconocible apenas ...
... mind's I / eye , and freely concedes that the power of the image resides in what it is not : " el modelo no es vida " ( " the model is not life ) , " no imita la vida " ( " it does not imitate life " ) , " reconocible apenas ...
Seite 179
... mind Benjamin's comments about how mechanical forms of reproduction problematize art and its value , let us now turn to a consideration of the filmic media beginning with pho- tography , in order to contemplate its uses and functions ...
... mind Benjamin's comments about how mechanical forms of reproduction problematize art and its value , let us now turn to a consideration of the filmic media beginning with pho- tography , in order to contemplate its uses and functions ...
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
alien Ana Rossetti art forms art object artistic Buñuel's Calvin Klein camera Carmen Martín Carmen Martín Gaite chapter cinema codes created creative cultural dialectic ekphrasis ekphrastic text entitled female gaze film filmic focus frame Fuertes Gaite's Gil de Biedma Gimferrer's I/eye Ibid illusion intertextual issue Jaime Gil Jenaro Talens José Angel Valente language liminality lines of verse linguistic literary literature Madrid male gaze Manuel Machado María Victoria María Victoria Atencia Martín Gaite metaphor metapoetic mirror muerte nombres ojos Pablo Picasso painter painting patriarchal Pere Gimferrer perspective photograph pintura poem poema poesía poet poet's poetic speaker poetic text poetry portrait postmodern presence problematic question Rafael Alberti reader reading reality reference relationship representation rupture silence simultaneously Spanish Spanish poetry story strategy subverts text's textual tion tradition twentieth-century Ugalde Un chien andalou University Press utilizes Valente verbal text viewer vision visual art voice woman women words