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Jiménez, Jesus Rubio. “Goya y el teatro español contemporáneo. De Valle-Inclán a Alberti y Buero Vallejo.” Anales de la Literatura Española Contemporánea 24.3 (1999): 593-619. Junquera, Juan José. The Black Paintings of Goya. Trans. Gilla Evans. London: Scala, 2003. Kaspe, Elke. Zwischen Utopie und Apokalypse. Das lyrische Werk Günter Kunerts von 1950 bis 1987. Tübingen: Max Niemeyer Verlag, 1995. Keune, Manfred E. “Günter Kunert.” Deutsche Dichter des 20. Jahrhunderts. Ed. Hartmut Steinecke. Berlin: Erich Schmidt Verlag, 1994. 742-57. Khan, Lothar. “Der arge Weg der Erkenntnis.” Lion Feuchtwanger: The Man, His Ideas, His Work: A Collection of Critical Essays. Ed. John M. Spalik. LA: Hennessey and Infalls, 1972. 201-17. Korte, Helmut. “Kunstwissenschaft – Medienwissenschaft: Methodologische Anmerkungen zur Filmanalyse.” Kunst und Künstler im Film. Eds. Helmut Korte, and Johannes Zahlten. Hameln: Verlag C.W. Niemeyer, 1990. 21- 42. Kranz, Gisbert. Das Bildgedicht. Theorie – Lexikon – Bilbiographie. Vol. 1. Köln and Wien [Cologne and Vienna]: Böhlau Verlag, 1981. Krieger, Murray. Ekphrasis: The Illusion of the Natural Sign. Baltimore and London: The Johns Hopkins UP, 1992. Kunert, Günter. “Zu Radierungen von Goya.” Tagwerke, Gedichte, Lieder, Balladen. Halle: Mitteldeutscher Verlag, 1961. 85-88. Leonardo da Vinci. Leonardo da Vinci’s Paragone: Critical Interpretation with a new Edition of the Text in the Codex Urbinas. Ed. Claire J. Farago. Leiden: E.J. Brill, 1992. Leutrat, Jean-Louis. “Godard’s Tricolor.” Jean-Luc Godard’s Pierrot le fou. Ed. David Wills. Cambridge: Cambridge UP, 2000. 64-80. Levitine, George. “Literary Sources of Goya’s Capricho 43.” Art Bulletin 37 (1955): 56-9. ---. “Some Emblematic Sources of Goya,” Journal of the Warburg and Courtauld Institutes 22 (1959): 106-131. 244
Lopez-Rey, José. Goya’s Caprichos: Beauty, Reason & Caricature. Vol 1. Westport, Conn: Greenwood Press, 1953, reptd. 1970. López Vázquez, José Manuel B. Los Caprichos de Goya y su interpretación. Santiago de Compostela: Universidad de Santiago de Compostela, 1982. Markiewicz, Henryk. “Ut Pictura Poesis: A History of the Topos and the Problem.” New Literary History 18.3 (1987): 535-58. Minas, Günter. Bildende Kunst im Film der Bundesrepublik Deutschland. Ergebnisse ener Bestandsaufnahme. Berlin, G. Minas, 1986. Mirar y Leer: Los Caprichos de Goya. Zaragoza: Palacio de Sastago, 15 diciembre 1999-6 febrero 2000 y Museo de Pontevedra, 18 febrero – 12 marzo 2000. Zaragoza: Diputación Provincial de Zaragoza; Madrid: Calcografía Nacional; Pontevedra: Museo de Pontevedra, 1999. Mitchell, W.J.T. “Going Too Far With The Sister Arts.” Space, Time, Image, Sign: Essays on Literature and the Visual Arts. Ed. James A. W. Heffernan. New York: Peter Lang, 1987. 1-10 ---. Picture Theory: Essays on Verbal and Visual Representation. Chicago and London: U of Chicago P, 1994. ---. “Space and Time: Lessing’s Laokoon and the Politics of Genre.” Iconology: Image, Text, Ideology. Chicago and London: U of Chicago P, 1986. Monaco, James. How to Read a Film: Moview, Media, Multimedia. 3 rd ed. New York and Oxford: Oxford UP, 2000. Mönig, Klaus. Malerei und Grafik in deutscher Lyrik des 20. Jahrhunderts. Freiburg im Breisgau: Rombach Verlag, 2002. Monti, Silvia. “Goya en las tablas. El sueño de la razón de Buero Vallejo.” Anales de la Literatura Española Contemporánea 23.3 (1998): 775-89. Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana University Press, 1989. Nash, John. Vermeer. London: Scala Books; Amsterdam: Rijksmuseum, 1991. 245
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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-
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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
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
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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 and 252: Daniel, Howard. “Introduction.”
Page 253: Hartmann, Lucrecia. Capriccio - Bil
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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