LEADER 03693nam 2200685 a 450 001 9910786499103321 005 20200520144314.0 010 $a1-283-80432-8 010 $a1-4008-4478-9 024 7 $a10.1515/9781400844784 035 $a(CKB)2670000000276738 035 $a(EBL)1051477 035 $a(OCoLC)818734317 035 $a(SSID)ssj0000759763 035 $a(PQKBManifestationID)11966291 035 $a(PQKBTitleCode)TC0000759763 035 $a(PQKBWorkID)10800822 035 $a(PQKB)11773978 035 $a(MdBmJHUP)muse43254 035 $a(DE-B1597)453867 035 $a(OCoLC)979629666 035 $a(DE-B1597)9781400844784 035 $a(Au-PeEL)EBL1051477 035 $a(CaPaEBR)ebr10624606 035 $a(CaONFJC)MIL411682 035 $a(MiAaPQ)EBC1051477 035 $a(EXLCZ)992670000000276738 100 $a20120517d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMute poetry, speaking pictures$b[electronic resource] /$fLeonard Barkan 205 $aCourse Book 210 $aPrinceton $cPrinceton University Press$d2013 215 $a1 online resource (209 p.) 225 0 $aEssays in the arts 300 $aDescription based upon print version of record. 311 $a0-691-14183-5 320 $aIncludes bibliographical references and index. 327 $aVisible and invisible -- Apples and oranges -- Desire and loss -- The theater as a visual arrt -- Afterword. 330 $aWhy do painters sometimes wish they were poets--and why do poets sometimes wish they were painters? What happens when Rembrandt spells out Hebrew in the sky or Poussin spells out Latin on a tombstone? What happens when Virgil, Ovid, or Shakespeare suspend their plots to describe a fictitious painting? In Mute Poetry, Speaking Pictures, Leonard Barkan explores such questions as he examines the deliciously ambiguous history of the relationship between words and pictures, focusing on the period from antiquity to the Renaissance but offering insights that also have much to say about modern art and literature. The idea that a poem is like a picture has been a commonplace since at least ancient Greece, and writers and artists have frequently discussed poetry by discussing painting, and vice versa, but their efforts raise more questions than they answer. From Plutarch ("painting is mute poetry, poetry a speaking picture") to Horace ("as a picture, so a poem"), apparent clarity quickly leads to confusion about, for example, what qualities of pictures are being urged upon poets or how pictorial properties can be converted into poetical ones. The history of comparing and contrasting painting and poetry turns out to be partly a story of attempts to promote one medium at the expense of the other. At the same time, analogies between word and image have enabled writers and painters to think about and practice their craft. Ultimately, Barkan argues, this dialogue is an expression of desire: the painter longs for the rich signification of language while the poet yearns for the direct sensuousness of painting. 410 0$aEssays in the Arts 606 $aArt and literature 606 $aVisual communication 606 $aWritten communication 615 0$aArt and literature. 615 0$aVisual communication. 615 0$aWritten communication. 676 $a700.1 686 $aLH 61100$2rvk 700 $aBarkan$b Leonard$0539713 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786499103321 996 $aMute poetry, speaking pictures$93714685 997 $aUNINA