Skip Navigation

The Cambridge Quarterly 2004 33(1):11-27; doi:10.1093/camqtly/33.1.11
© 2004 by Cambridge Quarterly
This Article
Right arrow Full Text (PDF)
Right arrow Alert me when this article is cited
Right arrow Alert me if a correction is posted
Services
Right arrow Email this article to a friend
Right arrow Similar articles in this journal
Right arrow Alert me to new issues of the journal
Right arrow Add to My Personal Archive
Right arrow Download to citation manager
Right arrowRequest Permissions
Google Scholar
Right arrow Articles by Fulford, S.
Right arrow Search for Related Content
Social Bookmarking
Add to CiteULike   Add to Connotea   Add to Del.icio.us  
What's this?

Painting the Sublime in Visible Syntax: Derek Walcott's Tiepolo's Hound

Sarah Fulford

University of Exeter

The relation between painting and poetry in Walcott's work has been explored by a number of critics including Edward Baugh, Robert Bensen and Clara de Rosa Lima. This essay develops their observations about painters and painting in Walcott's early poetry by considering the interplay between the visual and the visionary in his more recent Tiepolo's Hound (2000). Considering how the poem explores the sublime, the essay asks what effect Walcott's response to aesthetics has on the traditional agenda of post-colonial politics.


Add to CiteULike CiteULike   Add to Connotea Connotea   Add to Del.icio.us Del.icio.us    What's this?




Disclaimer:
Please note that abstracts for content published before 1996 were created through digital scanning and may therefore not exactly replicate the text of the original print issues. All efforts have been made to ensure accuracy, but the Publisher will not be held responsible for any remaining inaccuracies. If you require any further clarification, please contact our Customer Services Department.