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

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Pierrot le fou. Dir. Jean-Luc Godard. Perf. Georges de Beauregard, Anna Karina, Jean-Paul Belmondo. 1965. DVD. Winstar TV & Video, 1998. Rembrandt. Dir. Alexander Korda. Perf. Charles Laughton, Gertrude Lawrence, Elsa Lanchester, and Edward Chapman. 1936. DVD. MGM Home Entertainment, 2001. 252
Vita Laura Mareike Sager was born in Hamburg, Germany on February 10, 1978 to Dr. Peter Sager and Else-Maria Sager. She graduated from the Albert- Schweitzer Gymnasium in Hamburg in 1997 and received a B.A. from the Universität Hamburg in 2000 and spent a semester abroad at the Universidad Complutense de Madrid (Spain). She received an M.A. from the University of Texas at Austin in Comparative Literature in 2003 with a thesis on “Poetry of German Expressionism and the Spanish Avant-garde: Re-contextualizing García Lorca’s Poeta en Nueva York,” a revised version of which was published in the Revista de Estudios Hispanicos in the same year. She has also published an article in the German Quarterly on “German Unification: Concepts of Identity in Poetry from the East and West.” She has taught German at the University of Texas since 2003, and German and Spanish at the University of Dallas since 2006. Permanent address: 827 E. Shady Grove Rd., Irving, TX, 75060 This dissertation was typed by the author. 253
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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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“turned to privacy and inwardness
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etween social classes and as the co
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the production of privacy that cons
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viewer’s gaze into actively seein
Page 211 and 212: TRACY CHEVALIER AND PETER WEBBER: G
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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 225 and 226: Likewise, the two central ekphrasti
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Page 231 and 232: Vermeer and that the name of the gi
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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: Yacobi, Tamar. “The Ekphrastic Mo
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