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 31
... narrative . The motivations of ekphrasis again come into question . Does ekphrasis divert our attention from the primary narrative line , or does it focus it ( meta- phorically ) on the themes and concerns of this narrative ? Does it ...
... narrative . The motivations of ekphrasis again come into question . Does ekphrasis divert our attention from the primary narrative line , or does it focus it ( meta- phorically ) on the themes and concerns of this narrative ? Does it ...
Seite 89
... narrative line . The temporal elements of the romance , and hence of the narrative strand of ekphrasis , are continually threatening to freeze into the spatial array of art . Like Levinson , then , I would pro- pose that we read the ...
... narrative line . The temporal elements of the romance , and hence of the narrative strand of ekphrasis , are continually threatening to freeze into the spatial array of art . Like Levinson , then , I would pro- pose that we read the ...
Seite 208
... narrative's scale of human importance . . . . Its loyalty is to ob- jects , not to human significance . The human subject is not only physically exiled : the scale of values on which narrative and history painting are based is erased ...
... narrative's scale of human importance . . . . Its loyalty is to ob- jects , not to human significance . The human subject is not only physically exiled : the scale of values on which narrative and history painting are based is erased ...
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 |