Copyright by Laura Mareike Sager 2006 - The University of Texas at ...

More documents

Recommendations

Info

the musician and the painter, however, the writer is not threatened but takes charge of the situation. In contrast to the dreaming artist, he is able to banish the monsters with his pen. However, the apparent victory of the writer over the painter is debunked by the formal composition of the poem and the obvious irony of these lines, produced by the stylistic disjuncture between the lighthearted language (which jars with the rest of the poem) and the menace. Moreover, the writer’s weapon is a mere “Feder,” a feather, indicating the immateriality of his power. This is also emphasized by the fact that in bringing something to paper it becomes “[w]esenlos[],” that is, not only immaterial, but also insignificant.. The end of the poem, then, again goes beyond Goya’s aquatint in that it shows the monsters disappear, thereby portraying yet another “sueño,” the dream of the writer about the power of his own art. However, the paragone ends with the text undermining itself, indicating the skepticism about its own possibilities and questioning the writer’s superiority. Kunert does not present himself here as “writer who speaks emphatically about reason and who advocates unceasingly the future of the enlightened human being” (Kaspe 43, my transl.). 115 On the contrary, I would argue that this poem already prefigures the skepticism of his later poems, especially those in his collection Abtötungsverfahren (1980) that question the power and efficacy of poetry itself (e.g. “Eine Poetik”). Moreover, Kunert’s interpretation of Goya’s Capricho 43 can also be seen as an oblique interpretation and criticism of his own post-war GDR society. As Manfred E. Keune has pointed out, dream and reality 115 “ In diesem Gedicht zeigt sich Kunet als ein Schriftsteller, der im emphatischen Sinn von Vernunft spricht und unbeirrbar für die Zukunft des aufgeklärten Menschen eintritt.” 90
have not a separating but a complementary function for Kunert. 116 Thus, the images of unreason that extend rather than describe Goya’s Capricho 43 also represent Kunert’s vision of life in the GDR, thereby prefiguring his later open criticism. 117 Just as Goya presented his criticism of the vices and corruption of his own society in veiled form through the disjuncture between the images and the commentaries, so does Kunert veil his own verbal, poetic criticism through his ekphrasis of a visual image in order to show that the social corruption as well as the political censure are as relevant for him as they were for Goya. Buero Vallejo’s Drama This ambiguity about an enlightenment interpretation of the Sueño de la razón also marks the second text that animates Goya’s Capricho 43 in a dramatic ekphrasis, Antonio Buero Vallejo’s play El sueño de la razón (1970). 118 Buero Vallejo had started as a more conventional playwright in the early fifties, but began to turn to actual historical events as subject matter for his plays in 1958 with Un soñador para un pueblo (A Dreamer for a People). A drama about the 116 Manfred E. Keune, „Günter Kunert,“ Deutsche Dichter des 20. Jahrhunderts, Ed. Hartmut Steinecke (Berlin: Erich Schmidt Verlag, 1994), 748. 117 Kunert was officially recognized in the GDR until 1963, when criticism of his work began as he started to reveal contradictions in the socialist state. In 1977 his membership in the SED, the GDR’s party, was cancelled, and in 1979 he received a visa to move to West Germany. He had already published several of his works in the West during the 1960s and 1970s, and had been wellreceived there since his poetry collection Aus fünfzehn Jahren (From Fifteen Years) in 1963 (see Keune 742-57; Manfred Durzak and Hartmut Steinecke, “Einleitung,” Günter Kunert: Beiträge zu seinem Werk, eds. Manfred Durzak and Hartmut Steinecke (München and Wien: Carl Hanser Verlag, 1992), 11. 118 Antonio Buero Vallejo, El tragaluz. El sueño de la razón (Madrid: Espasa Calpe, 1970). The play has been translated into English by Marion Peter Holt as The Sleep of Reason (University Park: Estreno, 1998). 91
Page 1 and 2:
Copyright by Laura Mareike Sager 20
Page 3 and 4:
Writing and Filming the Painting: E
Page 5 and 6:
Acknowledgements I would like to ex
Page 7 and 8:
After developing a framework of fou
Page 9 and 10:
Chapter 4: Goya’s El sueño de la
Page 11 and 12:
INTRODUCTION Chapter 1: Toward a De
Page 13 and 14:
arts as well as between academic di
Page 15 and 16:
value” than painting, and to offe
Page 17 and 18:
(ut pictura poesis).” 14 But inte
Page 19 and 20:
Similarly, Ernest B. Gilman has dis
Page 21 and 22:
studied in terms of composition and
Page 23 and 24:
Supper, a Crucifixion), but produce
Page 25 and 26:
also lose their potential to be ekp
Page 27 and 28:
etween art history and film studies
Page 29 and 30:
In contrast to the films Poulton di
Page 31 and 32:
words, filmic ekphrasis reenacts in
Page 33 and 34:
to musical ekphrasis, I allege that
Page 35 and 36:
films revert to the traditional mal
Page 37 and 38:
Paris 1989 and Musée du Louvre IV,
Page 39 and 40:
Moreover, the woman in the green co
Page 41 and 42:
hear, read or talk about the art wo
Page 43 and 44:
man in the blue shirt. The man next
Page 45 and 46:
fruitfully applied to poetic ekphra
Page 47 and 48:
has a similar goal and will adapt h
Page 49 and 50: Poulton describes sixteen categorie
Page 51 and 52: means and other filmic devices such
Page 53 and 54: paintings by Renoir with which the
Page 55 and 56: Attributive Ekphrasis The first cat
Page 57 and 58: conflictive, and one conflictive an
Page 59 and 60: instances of ekphrasis will play a
Page 61 and 62: hohen Brauen, den breiten Mund mit
Page 63 and 64: Blas de Otero’s poem “Guernica
Page 65 and 66: Inquisition trial, the works are di
Page 67 and 68: is in the film reduced to an expres
Page 69 and 70: present, and constitutes a device c
Page 71 and 72: contrasting images. In Plett’s te
Page 73 and 74: Similarly, Camilo José Cela’s Lo
Page 75 and 76: the addition of Dirck van Baburen
Page 77 and 78: I have discussed examples of dramat
Page 79 and 80: has identified three groups of pict
Page 81 and 82: Chapter 3: Goya’s The Sleep of Re
Page 83 and 84: an espousal of the Enlightenment an
Page 85 and 86: (Capricci, 1743), and Giambattista
Page 87 and 88: audience would probably be familiar
Page 89 and 90: intended meaning of the Caprichos
Page 91 and 92: of his Obras has a frontispiece tha
Page 93 and 94: almost any sort of satire” since
Page 95 and 96: more explicit in literary texts, si
Page 97 and 98: y Goya,”1961). 112 In both these
Page 99: political opportunism of those indi
Page 103 and 104: The drama takes place in December 1
Page 105 and 106: King’s minister Calomarde, take o
Page 107 and 108: works, rather than his mistress Leo
Page 109 and 110: While the first phrase (“Tal para
Page 111 and 112: with the perspective represented in
Page 113 and 114: interpretation also points to Buero
Page 115 and 116: decapitated by one of his own paint
Page 117 and 118: azón and his own involvement in an
Page 119 and 120: Goya’s aquatint and of the text-i
Page 121 and 122: adopt Goya’s perspective, puts th
Page 123 and 124: point, allowing the viewer a glimps
Page 125 and 126: eally happened. Boccherini’s musi
Page 127 and 128: moving characters are superimposed
Page 129 and 130: eason. However, this positive note
Page 131 and 132: Likewise, in Kunert’s poem, the r
Page 133 and 134: ends the nightmare sequence. Howeve
Page 135 and 136: Chapter 4: Goya’s El sueño de la
Page 137 and 138: anger at his constant surveillance
Page 139 and 140: USES OF EKPHRASIS IN THE NOVEL AND
Page 141 and 142: phantastischen Gefunkels hart, nack
Page 143 and 144: sphere. Unlike the novel, the inter
Page 145 and 146: power and their inability to rule S
Page 147 and 148: Entering the Quinta del Sordo, on t
Page 149 and 150: that emphasizes the personal, aesth
Page 151 and 152:
his source of hope and spiritual gu
Page 153 and 154:
drawings and paintings of his exter
Page 155 and 156:
struggle with himself and his inter
Page 157 and 158:
y strange creatures from his imagin
Page 159 and 160:
marked off as actual threat, as opp
Page 161 and 162:
of ekphrasis in both produces a cer
Page 163 and 164:
point of view. Yet, during the same
Page 165 and 166:
interpretive ekphrases), or visuall
Page 167 and 168:
image to the public, in other words
Page 169 and 170:
that both of these works equally pe
Page 171 and 172:
concretized by the film for an audi
Page 173 and 174:
competition on another level, by re
Page 175 and 176:
aspirations, it seems to portray hi
Page 177 and 178:
the renowned artist from classical
Page 179 and 180:
Thus, as was the case with the Self
Page 181 and 182:
wearing not his usual white cap or
Page 183 and 184:
Thus, it is no surprise that such a
Page 185 and 186:
the great genius from humble origin
Page 187 and 188:
has not adopted it in his film. The
Page 189 and 190:
etchings and drawings, which are, o
Page 191 and 192:
While Korda also does not show Sask
Page 193 and 194:
Rembrandt has aged considerably, th
Page 195 and 196:
the space where his mirror is proba
Page 197 and 198:
However, Zuckmayer’s interpretati
Page 199 and 200:
scène is constituted by the above-
Page 201 and 202:
The use of the spoken word in this
Page 203 and 204:
“turned to privacy and inwardness
Page 205 and 206:
etween social classes and as the co
Page 207 and 208:
the production of privacy that cons
Page 209 and 210:
viewer’s gaze into actively seein
Page 211 and 212:
TRACY CHEVALIER AND PETER WEBBER: G
Page 213 and 214:
differences between the two women,
Page 215 and 216:
etween the two since Griet has star
Page 217 and 218:
scene, to contrast with her tranqui
Page 219 and 220:
Vermeer’s economic dependence on
Page 221 and 222:
omniscient narrator who describes C
Page 223 and 224:
thereafter at an auction of that pa
Page 225 and 226:
Likewise, the two central ekphrasti
Page 227 and 228:
the role and function of art in hum
Page 229 and 230:
epresenting class tensions. This di
Page 231 and 232:
Vermeer and that the name of the gi
Page 233 and 234:
economic and gender structures in t
Page 235 and 236:
In short, these two novels foregrou
Page 237 and 238:
may compete with both the visual ar
Page 239 and 240:
promotion of his public image throu
Page 241 and 242:
example, in the film Girl with a Pe
Page 243 and 244:
PARAGONE But why do the ekphrastic
Page 245 and 246:
Since its invention, film has been
Page 247 and 248:
contemporary art historians. By for
Page 249 and 250:
Berger, John, and Nella Bielski. Go
Page 251 and 252:
Daniel, Howard. “Introduction.”
Page 253 and 254:
Hartmann, Lucrecia. Capriccio - Bil
Page 255 and 256:
Lopez-Rey, José. Goya’s Capricho
Page 257 and 258:
Richter, Rolf. “Goya - der Weg zu
Page 259 and 260:
Stoll, Andre. “Goyas Illumionatio
Page 261 and 262:
Yacobi, Tamar. “The Ekphrastic Mo
Page 263:
Vita Laura Mareike Sager was born i
show all

Copyright by Laura Mareike Sager 2006 - The University of Texas at ...

Create successful ePaper yourself

Delete template?

Save as template?