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 44
... play on words that is consonant with the ekphrastic principle under dis- cussion here . Aside from referring to the two paintings , the text evokes the two images formulated by any artist , one a mental image and the other given ...
... play on words that is consonant with the ekphrastic principle under dis- cussion here . Aside from referring to the two paintings , the text evokes the two images formulated by any artist , one a mental image and the other given ...
Seite 157
... Play ' " ( " Long Play " [ brand ] blouse " ) , the last example being a combination of the two . In addition , she resolutely demytholo- gizes her function as a woman and as a poet in a very postmodern turn , by positioning herself ...
... Play ' " ( " Long Play " [ brand ] blouse " ) , the last example being a combination of the two . In addition , she resolutely demytholo- gizes her function as a woman and as a poet in a very postmodern turn , by positioning herself ...
Seite 225
... play at various levels of her text . I myself continued the " play " by playing out her poem's story , both by entering into the frame of her text , and by allowing her text to enter the frame of my own text ( s ) , both my life and ...
... play at various levels of her text . I myself continued the " play " by playing out her poem's story , both by entering into the frame of her text , and by allowing her text to enter the frame of my own text ( s ) , both my life and ...
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