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 21
... object : " That which ruptures the limits of the text is the portrait itself , with its solid frame refusing all synthesis . As such , the portrait is radical otherness in the text " ( Meltzer 1987 , 46 ) . Each poet develops a method ...
... object : " That which ruptures the limits of the text is the portrait itself , with its solid frame refusing all synthesis . As such , the portrait is radical otherness in the text " ( Meltzer 1987 , 46 ) . Each poet develops a method ...
Seite 89
... object through the medium . of language and must necessarily celebrate yet suspend and defer the art object's original discourse , be it of painting , architecture , or cinematography , for example , in order to effect a transmuta- tion ...
... object through the medium . of language and must necessarily celebrate yet suspend and defer the art object's original discourse , be it of painting , architecture , or cinematography , for example , in order to effect a transmuta- tion ...
Seite 200
... object , but do ( es ) not hold the object in its / their power . The representation of the object by the camera / mirror is veridical , but only if perceived in a certain fashion , that is , visually rather than tactilely.21 The image ...
... object , but do ( es ) not hold the object in its / their power . The representation of the object by the camera / mirror is veridical , but only if perceived in a certain fashion , that is , visually rather than tactilely.21 The image ...
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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