Copyright by Laura Mareike Sager 2006 - The University of Texas at ...
Copyright by Laura Mareike Sager 2006 - The University of Texas at ...
Copyright by Laura Mareike Sager 2006 - The University of Texas at ...
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Chapter 4: Goya’s El sueño de la razón in Lion Feuchtwanger’s Novel and<br />
Konrad Wolf’s Film Adapt<strong>at</strong>ion: Priv<strong>at</strong>e or Social Demons?.................... 125<br />
Introduction ................................................................................................ 125<br />
Uses <strong>of</strong> Ekphrasis in the Novel and the Film ............................................. 129<br />
El Sueño de la razón In <strong>The</strong> Novel and <strong>The</strong> Film..................................... 138<br />
Conclusion.................................................................................................. 150<br />
Chapter 5: From Screenplay to Film: Rembrandt’s Self-Portraits and Social<br />
Identity Construction through Ekphrasis.................................................... 156<br />
Introduction ................................................................................................ 156<br />
Self-Styliz<strong>at</strong>ion in Rembrandt’s Self Portraits ........................................... 163<br />
Artistic Ambitions: Self Portrait <strong>at</strong> the Age <strong>of</strong> 34............................. 164<br />
Three Self Portraits as Painter........................................................... 165<br />
Rembrandt as Painter <strong>of</strong> the Word .................................................... 170<br />
Rembrandt’s Self Portraits in Alexander Korda’s Film (1936) and Carl<br />
Zuckmayer’s Screenplay (1936) ....................................................... 173<br />
From Screenplay to Film: Self Portrait as Zeuxis vs. Self Portrait<br />
<strong>at</strong> the Age <strong>of</strong> 34......................................................................... 174<br />
Saskia and <strong>The</strong> Painter in his Studio................................................. 180<br />
<strong>The</strong> L<strong>at</strong>e Self Portraits in Screenplay and Film ................................ 182<br />
Conclusion.................................................................................................. 189<br />
Chapter 6: Vermeer’s Women in Film and Fiction: Ekphrasis and Gendered<br />
Structures <strong>of</strong> Vision.................................................................................... 192<br />
Introduction ................................................................................................ 192<br />
Vermeer’s Women: Constructing Priv<strong>at</strong>e, Aesthetic, and Socio-Cultural<br />
Identities ............................................................................................ 196<br />
<strong>The</strong> Girl with a Pearl Earring........................................................... 199<br />
Tracy Chevalier and Peter Webber: Girl with a Pearl Earring ................. 201<br />
Susan Vreeland’s Girl in Hyacinth Blue and Brent Shield’s Brush with<br />
F<strong>at</strong>e.................................................................................................... 210<br />
Conclusion.................................................................................................. 217<br />
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