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 43
... poem that Per Abat made " ) . The frame of the speaker's vision is firmly in place , since it is enclosed in turn by yet an- other frame , that of the intertext of the Poema de Myo Cid ( Poem of My Cid ) ( Madrid : Espasa Calpe , 1929 ) ...
... poem that Per Abat made " ) . The frame of the speaker's vision is firmly in place , since it is enclosed in turn by yet an- other frame , that of the intertext of the Poema de Myo Cid ( Poem of My Cid ) ( Madrid : Espasa Calpe , 1929 ) ...
Seite 51
... Poem ] , 1909 ) to see the common denominator that appears in different guises throughout his entire career . Another clear example is to be found in Canciones y dedicatorias ( Songs and Dedications ) ( 1915 ) , where the poet uses as a ...
... Poem ] , 1909 ) to see the common denominator that appears in different guises throughout his entire career . Another clear example is to be found in Canciones y dedicatorias ( Songs and Dedications ) ( 1915 ) , where the poet uses as a ...
Seite 111
... poem does not make refer- ence to the “ text " as poetic product - as a printed object on a page in a book - but only to the product in its visual and filmic form . We as readers of the poetic form must create this text out of the ...
... poem does not make refer- ence to the “ text " as poetic product - as a printed object on a page in a book - but only to the product in its visual and filmic form . We as readers of the poetic form must create this text out of the ...
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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