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. |
Im Buch
Ergebnisse 1-3 von 52
Seite 44
... once again , the absence that the poet signals fails as icon even as it succeeds as symbol , fails on the mimetic level while it succeeds on the semiotic level . For in the absence of the second Murillo painting Machado has found ...
... once again , the absence that the poet signals fails as icon even as it succeeds as symbol , fails on the mimetic level while it succeeds on the semiotic level . For in the absence of the second Murillo painting Machado has found ...
Seite 128
... once again cannot resist the temptation to have the poetic text open and then fold back upon itself . The poet / speaker describes the process of textual creation , from the vantage point of the present looking toward the past . And as ...
... once again cannot resist the temptation to have the poetic text open and then fold back upon itself . The poet / speaker describes the process of textual creation , from the vantage point of the present looking toward the past . And as ...
Seite 161
... once within the pastoral scene of woods and water , secondly within the tapestry's evocation of that pastoral vision , and third within the speaker's own imagination . But the speaker takes the representation one step further , in that ...
... once within the pastoral scene of woods and water , secondly within the tapestry's evocation of that pastoral vision , and third within the speaker's own imagination . But the speaker takes the representation one step further , in that ...
Inhalt
Acknowledgments | 11 |
How Manuel Machado Did Not Get the Picture | 33 |
Rafael Alberti and Pablo | 53 |
Urheberrecht | |
6 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
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