Access

You are not currently logged in.

Access your personal account or get JSTOR access through your library or other institution:

login

Log in to your personal account or through your institution.

If You Use a Screen Reader

This content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.

Ekphrasis and Autobiography: The Case of Rafael Alberti

Bernardo Antonio González
Anales de la literatura española contemporánea
Vol. 15, No. 1/3 (1990), pp. 29-49
Stable URL: http://www.jstor.org/stable/27741911
Page Count: 21
  • Read Online (Free)
  • Download ($16.00)
  • Subscribe ($19.50)
  • Cite this Item
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Ekphrasis and Autobiography: The Case of Rafael Alberti
Preview not available

Abstract

Rafael Alberti's autobiography, La arboleda perdida, and his book of ekphrastic poems, A la pintura, interlock textually and contextually. Founded on the same signs of the poet's exilic consciousness, the two books were composed in alternate stages throughout his stay in Argentina. They constitute a single discourse, a fact that sheds light on the meaning of ekphrasis in A la pintura, the primary subject of this study. Alberti uses this convention for the unique purpose of masking his inherently exilic and autobiographic consciousness. He does so as he grounds his work in two fundamental tropes: metaphor and metonymy. The metaphoric polarity of "poetry" and "painting" is equated to the distance between exile and homeland, present and past. The metonymic equation of writing and the writer is related to Alberti's desire to recover the images of the past in the self-consciousness discourse of the present and, by extension, to the notion that art is inherently autobiographic. Whereas these tropes are manifest in the configural elements (thematic, phonetic, imagistic) that contribute to the book's unity as a work of art, they lead us to understand the complex set of theories upon which A la pintura is based, theories that concern the relationship between self and community, creativity and tradition, art and life.

Page Thumbnails

  • Thumbnail: Page 
29
    29
  • Thumbnail: Page 
30
    30
  • Thumbnail: Page 
31
    31
  • Thumbnail: Page 
32
    32
  • Thumbnail: Page 
33
    33
  • Thumbnail: Page 
34
    34
  • Thumbnail: Page 
35
    35
  • Thumbnail: Page 
36
    36
  • Thumbnail: Page 
37
    37
  • Thumbnail: Page 
38
    38
  • Thumbnail: Page 
39
    39
  • Thumbnail: Page 
40
    40
  • Thumbnail: Page 
41
    41
  • Thumbnail: Page 
42
    42
  • Thumbnail: Page 
43
    43
  • Thumbnail: Page 
44
    44
  • Thumbnail: Page 
45
    45
  • Thumbnail: Page 
46
    46
  • Thumbnail: Page 
47
    47
  • Thumbnail: Page 
48
    48
  • Thumbnail: Page 
49
    49