東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Masks and self-portraits: The poetic...

University of Virginia.

FindBook

Google Book

Amazon

博客來

Masks and self-portraits: The poetic self in the Spanish rococo poetry.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Masks and self-portraits: The poetic self in the Spanish rococo poetry./
作者:	Gomez Castellano, Irene.
面頁冊數:	301 p.
附註:	Adviser: David T. Gies.
Contained By:	Dissertation Abstracts International69-04A.
標題:	Art History. -
電子資源:	http://0-pqdd.sinica.edu.tw.lib1.npue.edu.tw/twdaoapp/servlet/advanced?query=3312157
ISBN:	9780549600145

Masks and self-portraits: The poetic self in the Spanish rococo poetry.
Gomez Castellano, Irene.

Masks and self-portraits: The poetic self in the Spanish rococo poetry. - 301 p.

Adviser: David T. Gies.

Thesis (Ph.D.)--University of Virginia, 2008.

This dissertation studies the rococo and Anacreontic poetry that flourished in the second half of the 18th century in Spain. Each chapter analyzes the recurring personae that poets such as Nicolas Fernandez de Moratin, Juan Melendez Valdes, Jose Cadalso or Jose Iglesias de la Casa crafted in order to portray themselves in their texts. Chapter 1 explores the fusion between inspiration and eroticism as seen in the identification between the artist and Pygmalion, especially in the cycle of poems Galatea o la ilusion del canto by Melendez Valdes. Chapter 2 explores how these poets adapt the classic motif of metamorphoses using as a main example La inconstancia. Odas a Lisi by Melendez Valdes and its renacentist and baroque antecedents. Chapter 3 shows how androgyny plays an important role in the representation of the poetic self in these texts. The Anacreontic mania of the 18th century is studied in the context of the culture of the masquerade that also manifests itself in the paintings of Goya, Tiepolo and Luis Paret in Chapter 4. The identification between the self of the poet and the figure of a child is the focus of Chapter 5, while the representation of the poet as drunkard is the main subject of the last chapter, where the spirit of escapism, the ludic games of metamorphoses and infantilization and the association between poetry and drugs or artificial paradises that are characteristic of the rococo culture are linked together. The analysis of the representations of poetic identity in the anacreontic poetry of the 18th century demonstrates that the idiosyncratic qualities of this poetry that have been sometimes ridiculed can be understood as the product of a particular premodern culture that regarded identity and authorship as malleable, fluid, and non-essential.

ISBN: 9780549600145Subjects--Topical Terms:

635474
Art History.

Masks and self-portraits: The poetic self in the Spanish rococo poetry.
LDR:02733nmm 2200301 a 45 001 864088
005 20100726
008 100726s2008 ||||||||||||||||| ||spa d
020 $a 9780549600145
035 $a (UMI)AAI3312157
035 $a AAI3312157
040 $a UMI $c UMI
100 1 $a Gomez Castellano, Irene. $3 1032200
245 1 0 $a Masks and self-portraits: The poetic self in the Spanish rococo poetry.
300 $a 301 p.
500 $a Adviser: David T. Gies.
500 $a Source: Dissertation Abstracts International, Volume: 69-04, Section: A, page: 1385.
502 $a Thesis (Ph.D.)--University of Virginia, 2008.
520 $a This dissertation studies the rococo and Anacreontic poetry that flourished in the second half of the 18th century in Spain. Each chapter analyzes the recurring personae that poets such as Nicolas Fernandez de Moratin, Juan Melendez Valdes, Jose Cadalso or Jose Iglesias de la Casa crafted in order to portray themselves in their texts. Chapter 1 explores the fusion between inspiration and eroticism as seen in the identification between the artist and Pygmalion, especially in the cycle of poems Galatea o la ilusion del canto by Melendez Valdes. Chapter 2 explores how these poets adapt the classic motif of metamorphoses using as a main example La inconstancia. Odas a Lisi by Melendez Valdes and its renacentist and baroque antecedents. Chapter 3 shows how androgyny plays an important role in the representation of the poetic self in these texts. The Anacreontic mania of the 18th century is studied in the context of the culture of the masquerade that also manifests itself in the paintings of Goya, Tiepolo and Luis Paret in Chapter 4. The identification between the self of the poet and the figure of a child is the focus of Chapter 5, while the representation of the poet as drunkard is the main subject of the last chapter, where the spirit of escapism, the ludic games of metamorphoses and infantilization and the association between poetry and drugs or artificial paradises that are characteristic of the rococo culture are linked together. The analysis of the representations of poetic identity in the anacreontic poetry of the 18th century demonstrates that the idiosyncratic qualities of this poetry that have been sometimes ridiculed can be understood as the product of a particular premodern culture that regarded identity and authorship as malleable, fluid, and non-essential.
590 $a School code: 0246.
650 4 $a Art History. $3 635474
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, Romance. $3 1019014
690 $a 0295
690 $a 0313
690 $a 0377
710 2 $a University of Virginia. $3 645578
773 0 $t Dissertation Abstracts International $g 69-04A.
790 $a 0246
790 1 0 $a Gies, David T., $e advisor
791 $a Ph.D.
792 $a 2008
793 $a Spanish
856 4 0 $u http://0-pqdd.sinica.edu.tw.lib1.npue.edu.tw/twdaoapp/servlet/advanced?query=3312157