Desastres do pós-guerra civil espanhola: uma leitura de \'Tiempo de Silencio\', de Luis Martín-Santos e \'Nada\', de Carmen Laforet
18 Apr 2006-
TL;DR: In this article, the authors analyzed the novels Nothing (1945), written by Carmen Laforet, and Time of Silence (1962), by Luis Martín-Santos, in order to examine both works construction singularity; that is to say, the appropriation of the engravings series of Goya's The Caprices and The disasters of the war.
Abstract: The proposed study aims at analyzing the novels Nothing (1945), written by Carmen Laforet, and Time of Silence (1962), by Luis Martín-Santos, in order to examine both works construction singularity; that is to say, the appropriation of the engravings series of Goya’s The Caprices and The disasters of the war . In Nada, we deal with the integration from the monstrous aspect to the noveli stic space, the suppression of the frontier between the oneiric and the real worlds, t he fragmented representation and the dilution of the limits between the subject matter n a rated and the time of narration. In Time of Silence , we analyze the procedures of space reduction, the use of field work, of animalization and expansive images characterized by the representation appropriation, procedures and themes provided by the Goyan univers e. Taking the analysis of these elements into consideration, we observe that the au thors, through the pictures incorporation within the composition of these two n ovels, create an amplified dimension of the horror of war, and at the same time, they su ggest an interpretation of contemporary history as a continuity movement of th e “Spanish disaster” since 19 th Century up to the Spanish civil post-war. Key-words: Nothing; Carmen Laforet; Time of Silence ; Luis Martín-Santos; Goya and the Spanish civil post-war novel.
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TL;DR: Caravaggio's depiction of the Magdalen is based on the story of St. Thais as discussed by the authors, who was converted by St. Paphnutius and sent to a nunnery and kept secluded in a small bare cell.
Abstract: courtesan in fourth-century Alexandria, was converted by St. Paphnutius. After her repentance she was conducted by this holy monk to a nunnery and kept secluded in a small bare cell, which Paphnutius sealed up so that she was entirely isolated from the world. Since she was illiterate and did not know how to address her prayers to God, she asked Paphnutius to teach her some simple words that she could say over to herself during her seclusion (those words were: \"Qui plasmasti me miserere mei\"). After three years Paphnutius returned, broke the seals of the cell, and Thais was released-only to die a few days later and then be sanctified. Her attributes are a string of pearls, a vase of perfume, and the usual attire of a courtesan -though in fact she is said to have burnt all her clothes before entering the nunnery. The connection between Parmigianino's etching and the Doria picture might therefore prove to be more intimate than a purely visual one, especially if we take into account the difficulty of finding a convincing parallel between Caravaggio's supposed representation of the Magdalen and those by other artists.6 The particular disturbing quality of the painting may perhaps be better accounted for by linking it to the story of St. Thais, with all its implications.7 Again, Caravaggio's use of Parmigianino's etching, as well as providing a further interesting clue to his \"Lombard\" schooling, is also psychologically illuminating: he has adapted the pose of Parmigianino's figure-that traditionally used to express meditation-to a melancholy8 gesture of resignation, appropriate to the disconsolate mood of some weary, unhappy courtesan-one (we might be inclined to think if we still lived in Romantic times) who was known, perhaps, by the grandly classical name of Thais. ILARIA TOESCA
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01 Jan 1986
TL;DR: Mitchell as mentioned in this paper explores the nature of images by comparing them with words, or more precisely by looking at them from the viewpoint of verbal language, and the most lucid exposition of the subject I have ever read".
Abstract: "[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language. . . . The most lucid exposition of the subject I have ever read".--Rudolf Arnheim, "Times Literary Supplement"
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TL;DR: The earliest ekphrastic poetry describes what doesn't exist, save in the poetry's own fiction as discussed by the authors, which has a long history which I need hardly recite in detail to this audience.
Abstract: The earliest ekphrastic poetry describes what doesn't exist, save in the poetry's own fiction. What Jean Hagstrum called the “iconic” poem (he reserved the term “ecphrastic” for a sort of dramatic monologue in which the picture or sculpture is itself made to speak) (1) has a long history which I need hardly recite in detail to this audience. It would inelude the shields of Herakles and of Achilles, so differently represented by Hesiod and Homer; the ivory cup given by the goatherd to the shepherd Thyrsis in Theocritus' first idyll, whose description by the poet involves readings of feelings and intentions in the human figures depicted there even as all ekphrasis — poetic or art-historical — conti nues to do so today; the armor of Aeneas and the paintings in the Temple of Juno, both described with great regard to how Aeneas himself reads those images; the relief seulpture in Dante's Purgatorio, the tapestries and frescoes in Ariosto and Spenser and — in a remarkable scene of reading and misreading — in Sha...
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