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Intermedialität. Ed. Joachim Paech. Stuttgart and Weimar: Verlag J.B. Metzler, 1994. 103-113. Fischer, Ludwig Maximilian. Vernunft und Frotschritt: Geschichte und Fiktionalität im historischen Roman Lion Feuchtwangers. Königstein: Forum Academicum in d. Verlagsgruppe Athenäum, 1979. Gasser, Manuel. Das Selbstbildnis. Zürich: Kindler, 1961. Gilman, Ernest B. “Interart Studies and the ‘Imperialism’ of Language.” Art and Literature I. Ed. Wendy Steiner. Spec. issue of Poetics Today 10.1 (1989): 5-30. Glendinning, Nigel. Goya and His Critics. New Haven and London: Yale UP, 1977 Godard, Jean-Luc. Pierrot le fou. Trans. Peter Whitehead. London: Lorrimer Publishing Inc, 1985. Goldfarb, Hilliard T., and Reva Wolf, eds. Fatal Consequences: Callot, Goya, and the Horrors of War. Hanover, N.H.: Hood Museum of Art, Dartmouth College, 1990. Goya, Francisco. “Colección de estampas de asuntos caprichosos inventadas y grabadas al aguafuerte por Don Francisco Goya.” Caprichos de Goya: una aproximación y tres estudios (Madrid: Calcografía Nacional, et.al., 1996. Greenaway, Peter. A Zed and Two Noughts. London and Boston: faber and faber, 1986. ---. Nightwatching. Paris: Dis Voir, 2006. Growe, Bernd. “’Ydioma universal’. Goya und die Sprachlichkeit der Kunst.“ Giessener Beiträge zur Kunstgeschichte 7 (1985). 32-56. Hagstrum, Jean H. The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray. Chicago and London: University of Chicago Press, 1958. Hambourg, Maria Morris, and Douglas Eklund. “The Space of History.” Thomas Struth 1977-2002. New Haven and London: Dallas Mueum of Art and Yale Universtiy Press, 2002-2003. 156-165. 242
Hartmann, Lucrecia. Capriccio – Bild und Begriff. Nürnberg: Druckschnelldienst Nürnberg, 1973. Heffernan, James A. W. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago and London: University of Chicago Press, 1993. Held, Julius. “Das gesprochene Wort bei Rembrandt.” Neue Beiträge zur Rembrandt-Forschung. Eds. Otto von Dimson und Jan Kelch. Berlin: Gebrüder Mann, 1973. 111-125. Helman, Edith. El trasmundo de Goya. Madrid: Revista de Occidente, 1983. ---. Los “Caprichos” de Goya. Estella, Navarra: Salvat Editores/Alianza Editorial, 1971. Hermand, Jost. “The Case of the Well-Crafted Novel: Lion Feuchtwanger's 'Goya'.” High and Low Cultures: German Attempts at Mediation. Eds. R. Grimm, and J. Hermand. Madison: U of Wisconsin P, 1994. 75-94. Hofmann, Werner. Goya: To every story there belongs another. Trans. by David H. Wilson. London: Thames & Hudson, 2003. Hollander, Anne. Moving Pictures. New York: Knopf, 1989. Hollander, John. The Gazer’s Spirit: Poems Speaking to Silent Works of Art. Chicago and London: U of Chicago P, 1995. Holt, Marion P. “Introduction.” Las Meninas: A Fantasia in Two Parts. By Antonio Buero Vallejo. Ed. and Trans. Marion Peter Holt. San Antonio, TX: Trinity UP, 1987. vii-xvii. Hughes, Robert. Goya. New York: Alfred A. Knopf, 2003. Ingarden, Roman. Vom Erkennen des literarischen Kunstwerks. Darmstatt: Wissenschaftliche Buchgesellschaft, 1968. Iser, Wolfgang. Der Akt des Lesens. München: W. Fink Verlag, 1994. Jaretzky, Reinhold. “Der Künstler als Held: Zu Lion Feuchtwangers Goya oder Der arge Weg der Erkenntnis.” Lion Feuchtwanger: Materialien zu Leben und Werk. Ed. Wilhelm von Sternburg. Frankfurt: Fischer, 1989. 224-245. 243
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Copyright by Laura Mareike Sager 20
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Writing and Filming the Painting: E
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Acknowledgements I would like to ex
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After developing a framework of fou
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Chapter 4: Goya’s El sueño de la
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INTRODUCTION Chapter 1: Toward a De
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arts as well as between academic di
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value” than painting, and to offe
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(ut pictura poesis).” 14 But inte
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Similarly, Ernest B. Gilman has dis
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studied in terms of composition and
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Supper, a Crucifixion), but produce
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also lose their potential to be ekp
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etween art history and film studies
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In contrast to the films Poulton di
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words, filmic ekphrasis reenacts in
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to musical ekphrasis, I allege that
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films revert to the traditional mal
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Paris 1989 and Musée du Louvre IV,
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Moreover, the woman in the green co
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hear, read or talk about the art wo
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man in the blue shirt. The man next
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fruitfully applied to poetic ekphra
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has a similar goal and will adapt h
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Poulton describes sixteen categorie
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means and other filmic devices such
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paintings by Renoir with which the
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Attributive Ekphrasis The first cat
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conflictive, and one conflictive an
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instances of ekphrasis will play a
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hohen Brauen, den breiten Mund mit
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Blas de Otero’s poem “Guernica
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Inquisition trial, the works are di
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is in the film reduced to an expres
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present, and constitutes a device c
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contrasting images. In Plett’s te
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Similarly, Camilo José Cela’s Lo
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the addition of Dirck van Baburen
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I have discussed examples of dramat
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has identified three groups of pict
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Chapter 3: Goya’s The Sleep of Re
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an espousal of the Enlightenment an
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(Capricci, 1743), and Giambattista
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audience would probably be familiar
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intended meaning of the Caprichos
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of his Obras has a frontispiece tha
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almost any sort of satire” since
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more explicit in literary texts, si
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y Goya,”1961). 112 In both these
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political opportunism of those indi
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have not a separating but a complem
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The drama takes place in December 1
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King’s minister Calomarde, take o
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works, rather than his mistress Leo
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While the first phrase (“Tal para
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with the perspective represented in
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interpretation also points to Buero
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decapitated by one of his own paint
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azón and his own involvement in an
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Goya’s aquatint and of the text-i
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adopt Goya’s perspective, puts th
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point, allowing the viewer a glimps
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eally happened. Boccherini’s musi
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moving characters are superimposed
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eason. However, this positive note
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Likewise, in Kunert’s poem, the r
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ends the nightmare sequence. Howeve
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Chapter 4: Goya’s El sueño de la
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anger at his constant surveillance
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USES OF EKPHRASIS IN THE NOVEL AND
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phantastischen Gefunkels hart, nack
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sphere. Unlike the novel, the inter
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power and their inability to rule S
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Entering the Quinta del Sordo, on t
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that emphasizes the personal, aesth
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his source of hope and spiritual gu
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drawings and paintings of his exter
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struggle with himself and his inter
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y strange creatures from his imagin
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marked off as actual threat, as opp
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of ekphrasis in both produces a cer
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point of view. Yet, during the same
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interpretive ekphrases), or visuall
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image to the public, in other words
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that both of these works equally pe
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concretized by the film for an audi
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competition on another level, by re
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aspirations, it seems to portray hi
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the renowned artist from classical
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Thus, as was the case with the Self
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wearing not his usual white cap or
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Thus, it is no surprise that such a
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the great genius from humble origin
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has not adopted it in his film. The
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etchings and drawings, which are, o
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While Korda also does not show Sask
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Rembrandt has aged considerably, th
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the space where his mirror is proba
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However, Zuckmayer’s interpretati
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scène is constituted by the above-
Page 201 and 202: The use of the spoken word in this
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Page 205 and 206: etween social classes and as the co
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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
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Page 219 and 220: Vermeer’s economic dependence on
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Page 223 and 224: thereafter at an auction of that pa
Page 225 and 226: Likewise, the two central ekphrasti
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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: Daniel, Howard. “Introduction.”
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
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