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 xiii
... language that can wrestle ekphrasis to the ground " ( 10 ) . Such colorful description is not confined to Krieger's book alone ; the history of critical discourse on ekphrasis is full of emotionally charged and metaphorical language ...
... language that can wrestle ekphrasis to the ground " ( 10 ) . Such colorful description is not confined to Krieger's book alone ; the history of critical discourse on ekphrasis is full of emotionally charged and metaphorical language ...
Seite 34
... language is a way of revealing truth rather than disguising it or making it felt . In this sense , it is profoundly moral : language aims to convey knowledge and therefore to educate . But for the Sophists , words help display the self ...
... language is a way of revealing truth rather than disguising it or making it felt . In this sense , it is profoundly moral : language aims to convey knowledge and therefore to educate . But for the Sophists , words help display the self ...
Seite 216
... Language Notes 94 ( 1979 ) : 988–1032 . Rpt . in McGann , Beauty 15-65 . Mellor , Anne K. Ed . Romanticism and Feminism . Bloomington : Indiana UP , 1988 . " Keats's Face of Moneta : Source and Meaning . " Keats - Shelley Journal 25 ...
... Language Notes 94 ( 1979 ) : 988–1032 . Rpt . in McGann , Beauty 15-65 . Mellor , Anne K. Ed . Romanticism and Feminism . Bloomington : Indiana UP , 1988 . " Keats's Face of Moneta : Source and Meaning . " Keats - Shelley Journal 25 ...
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 |