The Sculpted Word: Keats, Ekphrasis, and the Visual Arts
University Press of New England, 1994 - 228 Seiten
The Sculpted Word not only provides the fullest treatment yet of Keats's use of ekphrasis - a trope by which writer translate visual compositions into words - but also places the poems within their literary, cultural, and historical contexts. Grant F. Scott observes that in Keats we often feel that we are wandering through a museum with a particularly eloquent and subtle guide. On one level, the guide's efforts to capture such visual images as engraved gems, landscape paintings, marbles, and urns represent an attempt to defeat the dominion of the image by writing it into language. On a deeper level, Scott suggests, ekphrasis presents Keats with psychological issues that have less to do with aesthetics than anxieties over such issues as cultural heritage, poetic tradition, and gender identity. Everywhere in ekphrasis studies, he argues, we encounter the language of subterfuge, of conspiracy; there is something taboo about moving across media, even as there is something profoundly liberating.
Was andere dazu sagen - Rezension schreiben
Es wurden keine Rezensionen gefunden.
The Elgin Marbles Sonnet
Ekphrasis in Fragment
6 weitere Abschnitte werden nicht angezeigt.
actually aesthetic Agnes appears argued artist artwork associated attempt Autumn beauty becomes begins Cambridge Castle chapter characters Chicago collection concerns critics cultural describes discussion dream earlier effect ekphrasis Elgin Marbles epigram Epistle essay example fact Fall fear feminine figures final Fragment genre Grecian Urn happy Homer human Hyperion imagination important Indolence John Keats Keats's kind language later leaves less letter lines literary London look metaphor mind mortality move movement museum narrative nature never noted object observer original Oxford painting perhaps picture poem poem's poet poet's poetic poetry precisely Princeton questions references remains representation represents response rhetoric Romantic scene sculpture seems seen sense shield sonnet speak speaker Spring stanza statue Studies suggests surface thing thought tion turns urn's verbal visual women writing York
The Shock of the Real: Romanticism and Visual Culture, 1760-1860
Gillen D'Arcy Wood,Wood Gillen,Wood Gillen Darcy
Keine Leseprobe verfügbar - 2001
Alle Ergebnisse von Google Books »