Poetry in paint and painting in words: Analogy between Wallace Stevens's and Joan Miró's surrealist creativity yielding cosmic imagescape
MY THESIS TITLE: Poetry in paint and painting in words: Analogy between Wallace Stevens and Joan Miró's surrealist creativity yielding cosmic imagescape
by FAHRETTIN ONDER
SUMMARY: This thesis tries to conduct an analogical analysis of the relationship between poetry and painting known as "ut pictura poesis" as reflected in Wallace Stevens's "The Man with the Blue Guitar" (1937) and Joan Miró"s "The Constellations" (1940-41) in terms of Surrealist movement and philosophy and the influences of art and literature during the second quarter of the twentieth century. In addition, it attempts to expose the interaction that yields a set of similar cosmic images composing cosmic imagescape, which is explored through a similar process of surrealist creativity by focusing specifically on the afore mentioned works. Besides their infatuation with the clash between reality and imagination, what makes Stevens's and Miró's creative and imaginative perception similar to each other is that they are both keen on the skillful application of the cosmic imagination that has yielded a colormatic and dynamic cosmic imagescape that serves as a metaphorical decoder on their works. The term, cosmic imagescape, is used to define the words"images"of the vocabulary of their cosmic dictionary compiled with their use of metaphors and tropes either painted or written. They are all a product of a fictitious imagination. Their cosmic imagination as the release of psychic and cosmic energy has served both of the creators of such aestheticism as a vast assortment of space and plane. In conclusion, one can establish a deep interaction and analogy between Wallace Stevens's poetic vision and Joan Miró"s painting conception in terms of Surrealist poetic and visual imagery with the recurrent images. With a similar creative process, they are both able to compose a cosmic imagery and imagescape by having focused on the productive conflict and clash between reality and imagination through surrealist
by FAHRETTIN ONDER
SUMMARY: This thesis tries to conduct an analogical analysis of the relationship between poetry and painting known as "ut pictura poesis" as reflected in Wallace Stevens's "The Man with the Blue Guitar" (1937) and Joan Miró"s "The Constellations" (1940-41) in terms of Surrealist movement and philosophy and the influences of art and literature during the second quarter of the twentieth century. In addition, it attempts to expose the interaction that yields a set of similar cosmic images composing cosmic imagescape, which is explored through a similar process of surrealist creativity by focusing specifically on the afore mentioned works. Besides their infatuation with the clash between reality and imagination, what makes Stevens's and Miró's creative and imaginative perception similar to each other is that they are both keen on the skillful application of the cosmic imagination that has yielded a colormatic and dynamic cosmic imagescape that serves as a metaphorical decoder on their works. The term, cosmic imagescape, is used to define the words"images"of the vocabulary of their cosmic dictionary compiled with their use of metaphors and tropes either painted or written. They are all a product of a fictitious imagination. Their cosmic imagination as the release of psychic and cosmic energy has served both of the creators of such aestheticism as a vast assortment of space and plane. In conclusion, one can establish a deep interaction and analogy between Wallace Stevens's poetic vision and Joan Miró"s painting conception in terms of Surrealist poetic and visual imagery with the recurrent images. With a similar creative process, they are both able to compose a cosmic imagery and imagescape by having focused on the productive conflict and clash between reality and imagination through surrealist