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 99
... mirror scenes in literature will tell us much about feminine consciousness in its relation to body and to world . Through the mirror , we can gain insight into the reciprocal inter- changes between interiority and exteriority as these ...
... mirror scenes in literature will tell us much about feminine consciousness in its relation to body and to world . Through the mirror , we can gain insight into the reciprocal inter- changes between interiority and exteriority as these ...
Seite 131
... mirror by making reference to childhood activities and objects such as " frágiles juguetes " ( " fragile toys " ) , " el parque infantil ” ( " the children's park " ) , or the " niño municipal con aro y árboles❞ ( " municipal boy with ...
... mirror by making reference to childhood activities and objects such as " frágiles juguetes " ( " fragile toys " ) , " el parque infantil ” ( " the children's park " ) , or the " niño municipal con aro y árboles❞ ( " municipal boy with ...
Seite 200
... mirror's presence encapsulate the ambiguity , duplicity , and power that the poet recognizes in language , and in any sign system . The camera and / or the mirror represent ( s ) an object , but do ( es ) not hold the object in its ...
... mirror's presence encapsulate the ambiguity , duplicity , and power that the poet recognizes in language , and in any sign system . The camera and / or the mirror represent ( s ) an object , but do ( es ) not hold the object in its ...
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
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