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 24
... tion to a contextually determined center " ( Pérez Firmat 1986 , xiv ) . The poetic works to be considered here tempt ( and [ at ] - tempt to go beyond ) the limits of poetic discourse . Paradoxically , the central focus of this poetry ...
... tion to a contextually determined center " ( Pérez Firmat 1986 , xiv ) . The poetic works to be considered here tempt ( and [ at ] - tempt to go beyond ) the limits of poetic discourse . Paradoxically , the central focus of this poetry ...
Seite 32
... tion which uses the filmic media as the basis for ekphrasis in the poetry of Pere Gimferrer and Jenaro Talens . These two poets decenter authorship and authority in a postmodern turn , and in the process call for a new definition of ...
... tion which uses the filmic media as the basis for ekphrasis in the poetry of Pere Gimferrer and Jenaro Talens . These two poets decenter authorship and authority in a postmodern turn , and in the process call for a new definition of ...
Seite 56
... tion contained in Lo que canté ( What I Sang ) shed light not only upon Picasso's art , but also upon Alberti's prismlike modernist introspective view - personal , emotional , aesthetic , philosophi- cal of Picasso the man , the friend ...
... tion contained in Lo que canté ( What I Sang ) shed light not only upon Picasso's art , but also upon Alberti's prismlike modernist introspective view - personal , emotional , aesthetic , philosophi- cal of Picasso the man , the friend ...
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