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 16
... never concerns himself with the provenance of the artworks either , never won- ders about their history , where they came from , what condition they are in , or what their “ leaf - fring'd legend [ s ] " might mean . Nor does he worry ...
... never concerns himself with the provenance of the artworks either , never won- ders about their history , where they came from , what condition they are in , or what their “ leaf - fring'd legend [ s ] " might mean . Nor does he worry ...
Seite 107
... never admit it ( “ I never wrote one single Line of Poetry with the least Shadow of public thought " [ 1 : 267 ] ) , his feelings about them and about fame remained profoundly ambivalent . “ I think I shall be among the English Poets ...
... never admit it ( “ I never wrote one single Line of Poetry with the least Shadow of public thought " [ 1 : 267 ] ) , his feelings about them and about fame remained profoundly ambivalent . “ I think I shall be among the English Poets ...
Seite 173
... never threatens the poet , precisely because it is naturalized . In this sense , the first stanza of the poem revises stanza 2 of " Grecian Urn , " cancel- ing the words " never , never " ( 17 ) and bringing forth all the offspring of B ...
... never threatens the poet , precisely because it is naturalized . In this sense , the first stanza of the poem revises stanza 2 of " Grecian Urn , " cancel- ing the words " never , never " ( 17 ) and bringing forth all the offspring of B ...
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 |