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 28
... feminine seems somewhat clearer , especially given the recent analysis of Levinson's Keats's Life of Allegory ( 1988 ) . But what of the more specifically aesthetic or cultural associations between ekphrasis and the feminine ? How is it ...
... feminine seems somewhat clearer , especially given the recent analysis of Levinson's Keats's Life of Allegory ( 1988 ) . But what of the more specifically aesthetic or cultural associations between ekphrasis and the feminine ? How is it ...
Seite 112
... feminine . " The speaker persists in an indolent pose that reverberates with connotations of feminine passivity , submissive- ness , and fertility - in the last stanza his head remains " cool - bedded in the flowery grass " ( line 52 ) ...
... feminine . " The speaker persists in an indolent pose that reverberates with connotations of feminine passivity , submissive- ness , and fertility - in the last stanza his head remains " cool - bedded in the flowery grass " ( line 52 ) ...
Seite 117
... feminine power for the poet - as he says in " Ode to a Night- ingale , " " Adieu ! the fancy cannot cheat so well ... feminine strand of ekphrasis generally . Such an ambivalence may stem as well from the poet's vague awareness of the ...
... feminine power for the poet - as he says in " Ode to a Night- ingale , " " Adieu ! the fancy cannot cheat so well ... feminine strand of ekphrasis generally . Such an ambivalence may stem as well from the poet's vague awareness of the ...
Inhalt
Ekphrasis | 29 |
The Elgin Marbles Sonnet | 45 |
Ekphrasis in Fragment | 68 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
Agnes anxiety appears argued artist artwork Autumn beauty becomes Cambridge casement Chicago Claude's cloak critics dream E. V. Rieu ekphrasis ekphrastic hope Elgin Marbles Elgin Marbles sonnet Endymion epic Epistle to J. H. essay Eve of St feminine figures Fragment of Castle-builder frieze gender genre Glaucus's Grecian Urn Helen Vendler Hephaestus Herakles Homer Hyperion Ian Jack illusion imagination J. H. Reynolds John Keats Keats's Keats's Ode landscape language Laocoon Leander Lessing's letter lines Literary London look Madeline's maidens Medusa metaphor Mitchell Moneta Muhlenberg College museum narrative nature never object Ode on Indolence ode's Oxford painting Philostratus picture poem poem's poet poet's poetic poetry Porphyro portrait precisely Princeton Psyche representation rhetoric Romantic Romanticism scene sculpture sense sexual Shield of Herakles sonnet spatial speaker stanza stasis statue surface temporal tion trans urn's Vendler verbal Virgil W. J. T. Mitchell word writing
Verweise auf dieses Buch
The Shock of the Real: Romanticism and Visual Culture, 1760-1860 Gillen D'Arcy Wood Keine Leseprobe verfügbar - 2001 |