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

More documents

Recommendations

Info

Table of Contents Chapter 1: Toward a Definition of Ekphrasis in Literature and Film ..................... 1 Introduction .................................................................................................... 1 The Aesthetics of Ekphrasis........................................................................... 3 Ekphrasis and Ideology .................................................................................. 8 Expanding the Definition of Ekphrasis ........................................................ 11 The Case for Cinematic Ekphrasis ............................................................... 14 Film and Painting ......................................................................................... 18 Chapter 2: Methodology........................................................................................ 26 Thomas Struth’s Museum Photographs and Visual Ekphrasis .................... 26 Ekphrastic Categories in Texts and Films.................................................... 34 Four Categories of Ekphrasis in Literature and Film................................... 43 Attributive Ekphrasis........................................................................... 45 Depictive Ekphrasis............................................................................. 48 Interpretive Ekphrasis ......................................................................... 52 Dramatic ekphrasis.............................................................................. 60 Chapter 3: Goya’s The Sleep of Reason in Poetry, Drama and Film: Dramatizing the Artist’s Battle with his Creatures ...................................... 71 Introduction .................................................................................................. 71 Word and Image in Goya’s Caprichos and the Sueño de la razón .............. 74 Goya’s El sueño de la razón in A Poem by Günter Kunert, A Drama by Buero Vallejo, and A Film by Carlos Saura........................................ 86 Günter Kunert’s Poem......................................................................... 86 Buero Vallejo’s Drama........................................................................ 91 Carlos Saura’s Film........................................................................... 109 Conclusion.................................................................................................. 119 viii
Chapter 4: Goya’s El sueño de la razón in Lion Feuchtwanger’s Novel and Konrad Wolf’s Film Adaptation: Private or Social Demons?.................... 125 Introduction ................................................................................................ 125 Uses of Ekphrasis in the Novel and the Film ............................................. 129 El Sueño de la razón In The Novel and The Film..................................... 138 Conclusion.................................................................................................. 150 Chapter 5: From Screenplay to Film: Rembrandt’s Self-Portraits and Social Identity Construction through Ekphrasis.................................................... 156 Introduction ................................................................................................ 156 Self-Stylization in Rembrandt’s Self Portraits ........................................... 163 Artistic Ambitions: Self Portrait at the Age of 34............................. 164 Three Self Portraits as Painter........................................................... 165 Rembrandt as Painter of the Word .................................................... 170 Rembrandt’s Self Portraits in Alexander Korda’s Film (1936) and Carl Zuckmayer’s Screenplay (1936) ....................................................... 173 From Screenplay to Film: Self Portrait as Zeuxis vs. Self Portrait at the Age of 34......................................................................... 174 Saskia and The Painter in his Studio................................................. 180 The Late Self Portraits in Screenplay and Film ................................ 182 Conclusion.................................................................................................. 189 Chapter 6: Vermeer’s Women in Film and Fiction: Ekphrasis and Gendered Structures of Vision.................................................................................... 192 Introduction ................................................................................................ 192 Vermeer’s Women: Constructing Private, Aesthetic, and Socio-Cultural Identities ............................................................................................ 196 The Girl with a Pearl Earring........................................................... 199 Tracy Chevalier and Peter Webber: Girl with a Pearl Earring ................. 201 Susan Vreeland’s Girl in Hyacinth Blue and Brent Shield’s Brush with Fate.................................................................................................... 210 Conclusion.................................................................................................. 217 ix
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: After developing a framework of fou
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 and 100:
political opportunism of those indi
Page 101 and 102:
have not a separating but a complem
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?