“The parallels that
have traditionally been drawn between the visual arts (painting in
particular) and poetry are based on Western conceptions of mimetic
representation.”
“Ekphrastic poetry is
necessarily limited to a description (or verbal bodying forth) of a
specific visual object [thus, it recurs] to descriptive vividness and
particularity, the corporeality of words, and the patterning of verbal
artifices, (…) essential to the much broader category of literary
pictorialism [which] places stringent demands upon its readers; it
requires us to develop the ability to see what the poet describes,
to develop (in Pope’s famous phrase) ‘quick poetic eyes’”
Wendorf, Richard.
“Visual Arts and poetry”. The New Princetion Encyclopedia of Poetry and
Poetics (1993). 1360 e 1362.
“Poets who paint and
painters who write do not necessarily combine word and image in a single text;
it is more likely, in fact, that they will produce separate works, including
works that are difficult to compare and reconcile with each other.”
Ex. e.e. cumings
[poesia inovadora, pintura convencional]
Wendorf, Richard.
“Visual Arts and poetry”. The New Princetion Encyclopedia of Poetry and
Poetics (1993). 1361.
[Polyphony] “Mikhail
Bakhtin’s term for a type of ‘dialogic’ prose in which more than one
narratorial voice appears, not simply because an author has created several
characters with distinguishable voices (…) but because a profoundly pluralistic
narratorial voice is displaced into a polyphony of heterogeneous, discordant,
or antithetic character voices which never are and never can be synthesized
into one authorial vision/voice.”
T.V.F. Brogan,
“Polyphonic Prose”. The New Princetion Encyclopedia of Poetry and Poetics (1993).
967.
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