The Sculpted Word: Keats, Ekphrasis, and the Visual ArtsUniversity 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. |
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Seite 99
... Indolence " ( 1748 ) — reveals that the genre delimits a peculiarly transitional and often liminal state . Each of the poets describes a mood that falls somewhere between pleasure and pain , between waking and sleeping , in an ...
... Indolence " ( 1748 ) — reveals that the genre delimits a peculiarly transitional and often liminal state . Each of the poets describes a mood that falls somewhere between pleasure and pain , between waking and sleeping , in an ...
Seite 112
... Indolence . " One of the things that should immediately strike us about the poem is its ambivalence over what I have been calling the " feminine . " The speaker persists in an indolent pose that reverberates with connotations of ...
... Indolence . " One of the things that should immediately strike us about the poem is its ambivalence over what I have been calling the " feminine . " The speaker persists in an indolent pose that reverberates with connotations of ...
Seite 197
... Indolence ' should be regarded as a sort of postscript to the ' Ode on a Grecian Urn ' " ( 244 ) . Only Aileen Ward ( in John Keats : The Making of a Poet [ Princeton , N.J .: Prince- ton UP , 1964 ] ) and Helen Vendler ( in The Odes of ...
... Indolence ' should be regarded as a sort of postscript to the ' Ode on a Grecian Urn ' " ( 244 ) . Only Aileen Ward ( in John Keats : The Making of a Poet [ Princeton , N.J .: Prince- ton UP , 1964 ] ) and Helen Vendler ( in The Odes of ...
Inhalt
Ekphrasis | 29 |
The Elgin Marbles Sonnet | 45 |
Ekphrasis in Fragment | 68 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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 English 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 moral 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
Verweise auf dieses Buch
The Shock of the Real: Romanticism and Visual Culture, 1760-1860 Gillen D'Arcy Wood Keine Leseprobe verfügbar - 2001 |