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
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Seite 64
... question that arises for the reader is in regard to a work that bears Picasso's signature . By signing this work , has Picasso metamorphosed a simple colophon into a work - his work of art ? And what of Alberti's complicity in the frame ...
... question that arises for the reader is in regard to a work that bears Picasso's signature . By signing this work , has Picasso metamorphosed a simple colophon into a work - his work of art ? And what of Alberti's complicity in the frame ...
Seite 95
... questions why one should or should not be inspired by a representation in oil versus one in plastic with electric ... question not only the limits imposed by the canon , but also the ramifications of those limits . By distancing and ...
... questions why one should or should not be inspired by a representation in oil versus one in plastic with electric ... question not only the limits imposed by the canon , but also the ramifications of those limits . By distancing and ...
Seite 109
... question preestablished boundaries , limits that previously had not had to take into account her presence . Thus it ... questions the limits of text , genre , memory , telling , writing , and experience , and wills the Self to continue ...
... question preestablished boundaries , limits that previously had not had to take into account her presence . Thus it ... questions the limits of text , genre , memory , telling , writing , and experience , and wills the Self to continue ...
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
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