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 15
... ( Ibid . , 125 ) . In Krieger's subsequent Ekphrasis : The Illusion of the Natural Sign the author presents a diachronic overview of the " still movement " of ekphrasis , and centers his definition upon the idea that ekphrasis becomes " a ...
... ( Ibid . , 125 ) . In Krieger's subsequent Ekphrasis : The Illusion of the Natural Sign the author presents a diachronic overview of the " still movement " of ekphrasis , and centers his definition upon the idea that ekphrasis becomes " a ...
Seite 16
... ( Ibid . ) . Previously , ekphrasis in purely rhetorical terms had referred solely to description , in its most general usage . Ber- gmann further comments that ekphrasis originally had served as what she terms a solely " descriptive ...
... ( Ibid . ) . Previously , ekphrasis in purely rhetorical terms had referred solely to description , in its most general usage . Ber- gmann further comments that ekphrasis originally had served as what she terms a solely " descriptive ...
Seite 17
... ( Ibid . ) In the case of the visual image that is evoked in a verbal work of art , it would seem that all the definitions posed by Caws for the term stress would indeed apply . The play of the various defini- tions of stress inserts into ...
... ( Ibid . ) In the case of the visual image that is evoked in a verbal work of art , it would seem that all the definitions posed by Caws for the term stress would indeed apply . The play of the various defini- tions of stress inserts into ...
Seite 24
... ( Ibid . , xviii ) . This tension may be seen in all of what would be termed modern literature , from the explosion of the avant - garde movement at the beginning of the twentieth century , to the contemporary postmodern iconoclastic art ...
... ( Ibid . , xviii ) . This tension may be seen in all of what would be termed modern literature , from the explosion of the avant - garde movement at the beginning of the twentieth century , to the contemporary postmodern iconoclastic art ...
Seite 26
... ( Ibid . , 7 ) . But I would hold that in ekphrastic poetry , the poet as well as the reader is continually reminded of the frame , and the intru- sion of one art form upon another , thus emphasizing in a direct manner the self ...
... ( Ibid . , 7 ) . But I would hold that in ekphrastic poetry , the poet as well as the reader is continually reminded of the frame , and the intru- sion of one art form upon another , thus emphasizing in a direct manner the self ...
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Häufige Begriffe und Wortgruppen
Alberti alien Ana Rossetti art forms art object artistic Atencia attempts Buñuel's Calvin Klein Carmen Martín Carmen Martín Gaite chapter cinema codes context created creative cultural dialectic ekphrasis ekphrastic text entitled espejos 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 Atencia Martín Gaite metaphor metapoetic mirror muerte nombres ojos Pablo Picasso painter painting patriarchal Pere Gimferrer perspective photograph 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 speak story strategy subverts text's textual tion tradition twentieth-century Ugalde Un chien andalou utilizes Valente verbal text viewer vision visual art voice woman women words
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