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Ravishing images : ekphrasis in the poetry and prose of William Wordsworth, W.H. Auden, and Philip Larkin

Author: Katy Aisenberg
Publisher: New York : P. Lang, ©1995.
Series: American university studies., Series IV,, English language and literature ;, v. 158.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
This major study of Wordsworth, Auden, and Larkin proposes that we read the history of contemporary poetry as the history of a war between words and images. This book argues that the desire for transparent clear poetry, in the 19th and 20th centuries, led poets to try to appropriate the powers of the image: the main trope they used was ekphrasis, a written description of a work of art. But the relationship between  Read more...
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Genre/Form: Criticism, interpretation, etc
History
Named Person: W H Auden; William Wordsworth; Philip Larkin; W H Auden; William Wordsworth; Philip Larkin; W H Auden; Philip Larkin; William Wordsworth; Wystan Hugh Auden; William Wordsworth; Philip Larkin; William (Schriftsteller) Wordsworth; Wystan H Auden; Philip Larkin; Auden, W. H <1907-1973> - (Wystan Hugh) - Style.; Philip - Style Larkin; Wordsworth, William <1770-1850> - Style.; Wystan H Auden; Philip Larkin; William Wordsworth
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Katy Aisenberg
ISBN: 0820420328 9780820420325 082042031X 9780820420318
OCLC Number: 28847061
Description: viii, 206 pages ; 24 cm.
Contents: Ch. 1. The Rhetoric of Transparency: The Poetry and Prose of W.H. Auden --
Ch. 2. The Tyranny of the Eye: The Poetry and Prose of William Wordsworth --
Ch. 3. The Open Coffin: The Poetry and Prose of Philip Larkin.
Series Title: American university studies., Series IV,, English language and literature ;, v. 158.
Responsibility: Katy Aisenberg.

Abstract:

This major study of Wordsworth, Auden, and Larkin proposes that we read the history of contemporary poetry as the history of a war between words and images. This book argues that the desire for transparent clear poetry, in the 19th and 20th centuries, led poets to try to appropriate the powers of the image: the main trope they used was ekphrasis, a written description of a work of art. But the relationship between the arts was less a marriage than a rape. These poets feared the wordless power of the other they described. They narcissistically created these images with the rhetoric of possession, domination, violence, or entombment.

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