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 53
... young boy , his initial aspiration was to dedicate himself to the visual arts , and it was only after a few expositions of his work in Madrid that he finally decided to turn over his attention and considerable creative energy primarily ...
... young boy , his initial aspiration was to dedicate himself to the visual arts , and it was only after a few expositions of his work in Madrid that he finally decided to turn over his attention and considerable creative energy primarily ...
Seite 74
... young ladies of Avignon . // Wonder . To the brothel new clients . The entire century in commotion . / Angles erupt in fury . / The young ladies of Avignon . // They wound with beak bites buttocks , elbows , / noses , dishonest ...
... young ladies of Avignon . // Wonder . To the brothel new clients . The entire century in commotion . / Angles erupt in fury . / The young ladies of Avignon . // They wound with beak bites buttocks , elbows , / noses , dishonest ...
Seite 75
... young ladies of Avignon . // Cemetery of what is charming . Good taste , the itch of fornicating with what is painted . The young ladies of Avignon . // Day and night the open door . / Today visits without restriction . Careful . They ...
... young ladies of Avignon . // Cemetery of what is charming . Good taste , the itch of fornicating with what is painted . The young ladies of Avignon . // Day and night the open door . / Today visits without restriction . Careful . They ...
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