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 106
... ultimately undecidable nature : Todo es un cuento roto en Nueva York donde ninguna trama se ha de tener por cierta , recitado de forma intermitente entre guiños de flash en el gran escenario giratorio al que afluyen en mezcla simultánea ...
... ultimately undecidable nature : Todo es un cuento roto en Nueva York donde ninguna trama se ha de tener por cierta , recitado de forma intermitente entre guiños de flash en el gran escenario giratorio al que afluyen en mezcla simultánea ...
Seite 112
... ultimately and ironically " ( dis ) appears , " is used not as a repre- sentation but rather as a subterfuge of reality . In so doing , she also calls into question the accepted limits that separate one mode of discourse from another ...
... ultimately and ironically " ( dis ) appears , " is used not as a repre- sentation but rather as a subterfuge of reality . In so doing , she also calls into question the accepted limits that separate one mode of discourse from another ...
Seite 115
... ultimately undecidable relationship between verbal and visual art , as well as art and life . The first poetic text that will be considered is entitled “ Trompe l'oeil " ( Gil de Biedman 1966 , 95-96 ) , and is taken from his ...
... ultimately undecidable relationship between verbal and visual art , as well as art and life . The first poetic text that will be considered is entitled “ Trompe l'oeil " ( Gil de Biedman 1966 , 95-96 ) , and is taken from his ...
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 |
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