Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish Poetry

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Bucknell 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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Inhalt

I
11
II
13
IV
33
VI
53
VIII
89
X
114
XII
146
XIV
176
XVI
217
XVII
219
XVIII
235
XIX
251
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Beliebte Passagen

Seite 176 - Art in the Age of Mechanical Reproduction," "That which withers in the age of mechanical reproduction is the aura of the work of art. . . . [T]he technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence
Seite 8 - Caminante, son tus huellas el camino, y nada más; caminante, no hay camino, se hace camino al andar. Al andar se hace camino, y al volver la vista atrás se ve la senda que nunca se ha de volver a pisar. Caminante, no hay camino, sino estelas en la mar. —Antonio Machado,
Seite 35 - su tez como la tarde, cansado el oro de su pelo undoso, y de sus ojos, el azul, cobarde. Sobre su augusto pecho generoso ni joyeles perturban ni cadenas el negro terciopelo silencioso. Y, en vez de cetro real, sostiene apenas, con desmayo
Seite 176 - [T]he technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence
Seite 94 - the material bodily lower stratum; she is the incarnation of this stratum that degrades and regenerates simultaneously. She is ambivalent. She debases, brings down to earth, lends a bodily substance to things, and destroys; but, first of all, she is the principle that gives birth. She is the womb. Such is woman's image in the popular comic tradition
Seite 8 - ¡Oh mi voz condecorada con la insignia marinera: sobre el corazón un ancla, y sobre el ancla una estrella, y sobre la estrella el viento, y sobre el viento la vela! —Rafael Alberti,
Seite 123 - the double antithetical relation of host and guest, guest in the bifold sense of friendly presence and alien invader. The words "host" and "guest" go back in fact to the same etymological root: ghos-ti, stranger; guest, host, properly "someone with whom one has reciprocal duties of hospitality
Seite 124 - is a double antithetical prefix signifying at once proximity and distance, similarity and difference, interiority and exteriority, something inside a domestic economy, and at the same time outside it, something simultaneously this side of
Seite 68 - modern poetry asks its readers to suspend the process of individual reference temporarily until the entire pattern of internal references can be apprehended as a unity
Seite 38 - painting as sign, we have to forget the proscenic surface of the image and think behind it: not to an original perception in which the surface is luminously bathed, but to the body whose activity—for the painter as for the viewer—is always and only a transformation of material signs

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