Relevant bibliographies by topics / Ekphrasis

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ekphrasis'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 June 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Ekphrasis.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Ekphrasis"

1

Rogerson, Anne. "Dazzling Likeness: Seeing Ekphrasis in Aeneid 10." Ramus 31, no. 1-2 (2002): 51–72. http://dx.doi.org/10.1017/s0048671x00001363.

Full text
Abstract:
What, exactly, identifies the ekphrastic at work? Some basic definitive properties can be agreed: ekphrasis is a descriptive trope that brings what it describes vividly before the imaginative gaze of its audience. It is through its vivid evocation of a scene or object unseen to this audience that the ekphrasis fulfils its purpose, and makes an emotional impact upon them. The affective power of ekphrasis thus draws its audience into the fictional world of its narrative, blurring the boundaries necessarily erected by its verbal frame, while at the same time the focus on crafted objects that we often see in ekphraseis (particularly in those on which scholars have predominantly chosen to concentrate)—and the break that an ekphrasis can create when it is interposed in a continuing narrative—serve to highlight the very createdness of this world.So ekphrasis is on the face of it a well-defined literary figure, easily recognisable both by its intrinsic attributes and by its effects. Nevertheless the boundaries of ekphrasis are not as clearly defined as the summary above might suggest. Ekphraseis of art objects have commanded the most scholarly attention: they allow for discussion of the fashioning of the text as well as its function and they conform to modern understandings of what an ekphrasis looks like. But defined in classical terms, ekphrasis covers a far broader descriptive territory than does verbal representation of representative art alone and can include, as well as descriptions of objets d'art, descriptions of battles, of cities, of persons, places, times and events, of plants and animals, and of festivals…
APA, Harvard, Vancouver, ISO, and other styles
2

Semerenko, Lubov I., and Oleksandr O. Pliushchai. "Pictorial as readable: ekphrasis in a literary work and reader’s p." Alfred Nobel University Journal of Philology 1, no. 23 (2022): 50–59. http://dx.doi.org/10.32342/2523-4463-2022-1-23-4.

Full text
Abstract:
The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative and hermeneutic. The paper focuses on the concept of ekphrasis and its use in literary works and studies the current trends in the study of ekphrasis, regarding its definition, typology, functions, ekphrastic genre invariants, and reader’s perception of ekphrasis. Some exemplary instances of ekphrasis description in English ekphrastic poetry and emotive prose have been considered, and the verbal means of ekphrasis generation have been analysed. The analysis of the most popular works of domestic and foreign scholars such as: N.S. Bochkareva, L. Geller, N.N. Yefimova, A.Yu. Krivoruchko, V. Cunningham, J. Hollander, L. Spitzer and many others, has allowed to make the conclusion that most scholars use the definition of ekphrasis as a “poetic description of a pictorial or sculptural work of art” suggested by Leo Spitzer, although, the definition of ekphrasis as a “verbal representation of visual representation” of James Hefferman, which is a broader concept is also popular. Different classifications of ekphrasis have been suggested by the researchers. N. Braginskaya, for instance, distinguishes the dialogical and monological ekphrasis on the basis of the internal structure of the text, the main difference being the manner of presenting information to the reader. The typology of ekphrasis and its main functions are mainly given on the basis of creative works of a particular writer or poet and many researchers pay attention to sense general features of ekphrasis as the process which combines iconic and sign images in verbal discourse. Ekphrasis, being the representation of other arts in literature, expands considerably the narrative space. The origin of ekphrasis goes back to the ancient times where it is seen as a rhetorical device. In classical rhetoric, ekphrasis could refer virtually to any extended description of art objects. Ekphrasis, an ancient rhetorical term, has been now revived in academic circles, in the studies of art and literature. After languishing in obscurity until 1967, when Murray Krieger published a notable essay on it, ekphrasis is commanding major attention, “ploughing the inexhaustibly fertile ground where literature meets visual arts”. There are various approaches to the study of the ekphrastic tradition, and the historical approach being one of them, can be seen in many works. Ekphrasi in modern research is a multifaceted and polyfunctional phenomenon. The typology of ekphrasis and its main functions are mainly given on the basis of the particular poet`s or writer`s creative works, paying attention to some general features of ekphrasis which combines iconic and sign images in verbal discourse. The phenomenon of ekphrasis merits further consideration, especially, due to the availability of Liliane Louvel’s The Pictorial Third: An Essay into Intermedial Criticism, which provides the author’s innovative approach to the understanding of the relationships between the literary text and image.
APA, Harvard, Vancouver, ISO, and other styles
3

V. Bjelanovic, Nedeljka. "TWO-VOICE TEXTURE OF EKPHRASIS. FIGURE OF LOVE – EKPHRASTIC FORMS IN THE OEUVRE OF SVETISLAV MANDIĆ." Филолог – часопис за језик књижевност и културу 13, no. 25 (2022): 309–22. http://dx.doi.org/10.21618/fil2225309b.

Full text
Abstract:
This paper deals with ekphrasis in the poetry and essays by Svetislav Mandic, in their particular form, method of creation, and function, in relation to the author’s profile and the specific position of his oeuvre in terms of literary history. The ekphrastic nature of Mandic’s oeuvre is discussed using several characteristic examples from his essays and lyrical poetry. At the same time, what is emphasised is the fact that various forms of picturesque and iconic descriptions in Mandic’s oeuvre are not necessarily ekphrastic, which means that particular attention should be paid not to exaggerate about the significance of the ekphrase as regards the overall enterprise of Mandic. The final conclusion about the nature of Mandic’s ekphrasis – that it implies figures of love – is based upon the analysis of the examples presented in the paper.
APA, Harvard, Vancouver, ISO, and other styles
4

Zuhair Al-Wattar, Shaymaa. "Breaking the Spell of the Male Gaze in Selected Women's Ekphrastic Poems." Journal of Education College Wasit University 2, no. 37 (2019): 20. http://dx.doi.org/10.31185/eduj.vol2.iss37.1106.

Full text
Abstract:
For centuries art and poetry have been inspiring each other and the relation between word and image constantly fascinates the poets. The literary world has given poems that tackle artwork the name: ekphrasis. Ekphrasis represents a rich hunting ground for references, allusions, and inspiration for poets. However, ekphrasis is powerfully gendered that privileged male gaze. Traditionally, the male is given the strong position as the gazer, while the woman is locked in her predetermined role that of the beautiful, silent, submissive, gazed upon.
 Women poets refuse to adhere to the gendered ekphrastic tradition and the under-representation of women in ekphrastic poetry. They strongly challenged the ekphrasis tradition modifying it to create a distinctive feminist ekphrasis. Their poetry changes the male-dominated ekphrsis tradition that for centuries has pervaded the Western cultures. The work of the poets Louise Bogan,Carol Ann Duffy, Rita Dove, and Margaret Atwood is an excellent example of women's ekphrastic poetry that defies the tradition of patriarchal male gaze in an attempt to break the spell of the male gaze.
APA, Harvard, Vancouver, ISO, and other styles
5

Ristić, Tatjana Z. "EKPHRASIS IN KEATS’S “ODE ON A GRECIAN URN”." Филолог – часопис за језик књижевност и културу 13, no. 26 (2022): 370–93. http://dx.doi.org/10.21618/fil2226370r.

Full text
Abstract:
In order to fully question the issue of ekphrasis in John Keats’s ”Ode on a Grecian Urn”, this paper begins by giving a brief historical and theoretical framework of ekphrasis, and then analyses a concrete ekphrasis in Keats’s poem. Historically speaking, the meaning of ekphrasis made a large shift in modern times compared to the original. Ancient Progymnasmata do not narrow the term based on subject matter, but rather define it using the category of vividness, enárgeia, and only later through the examinations of ancient ekphrasis of works of spatial arts, in literary texts as well as in rhetorical ones, ekphrasis becomes narrowed to a literary evocation of works of spatial arts. This happens in Spitzer’s analysis of the poem in the second half of the twentieth century, thus proving “Ode on the Grecian Urn” to be a crucial text in rethinking the term. This paper tends to reconcile the original and modern theories of ekphrasis through the poem itself. In a theoretical context, ekphrasis’s share in narration and description, and its discursive features are shown, opening the debate on the common linkage of ekphrasis to description, and alienation from narration. Choosing to address ekphrasis from the perspective of the ekphrastic poetry itself rather than a theoretical point of view, the paper shows how the urn cannot solely be seen as “silent” since it strives to tell a legend, a narrative, which is contained in the urn as an aesthetic object and work of sculptural art. This text does not tend to discover the real models for the ekphrasis, but it does offer some sculptural works and paintings which could have inspired Keats. The text is more inclined toward unveiling the discursive context which could have influenced the poet: the (meta)aesthetics of ancient Greece, derived both from poetry and philosophy. The most important objective of the paper is to offer a new reading of the poem through a critical dialogue with the most accepted readings of the “Ode”, primarily those of Spitzer and Brooks, and through questioning of common places in literary criticism of the poem.
APA, Harvard, Vancouver, ISO, and other styles
6

LUNYOVA, T. "EKPHRASIS AND META-EKPHRASIS IN JULIAN BARNES’S ESSAY “GÉRICAULT: CATASTROPHE INTO ART”: A COGNITIVE POETIC ANALYSIS." Philological Studies, no. 33 (April 19, 2021): 75–82. http://dx.doi.org/10.33989/2524-2490.2020.33.228247.

Full text
Abstract:
The article discusses the semantic aspects of ekphrasis and meta-ekphrasis in Julian Barnes’s essay “Géricault: Catastrophe into Art” from the cognitive poetics perspective. In his essay, Barnes dwells upon the history and interpretations of Géricault’s masterpiece which represents the survivors of the wreck of a French frigate in 1816. The aim of the study is to reveal the semantic integration of ekphrastic contexts (those parts of the essay which provide description of a painting) and meta-ekphrastic contexts (those parts of the essay which are not descriptions of a painting per se, however they only develop their meaning in connection with ekphrastic contexts). The article suggests using the term meta-ekphrasis to account for the textual contexts which while being semantically related to ekphrasis, do not offer a painting description but a narration about some events related with the painting or ideas inspired by looking at the painting. Used in this meaning, the term meta-ekphrasis is utilised in the paper to reveal the development of Barnes’s original idea about tragedy and art in his essay. The research is grounded in cognitive poetic approach to ekphrasis and employs cognitive poetic instruments of analysis. It presents the results which demonstrate that the main cognitive poetic means that ensure semantic interaction of ekphrastic and meta-ekphrastic contexts in Barnes’s essay are the following: dialogism, hypothetical modality and conceptual metaphors with the source domain of SEA NAVIGATION. It is the semantic integrity of ekphrastic and meta-ekphrastic contexts in Barnes’s essay that allows the writer to present his unconventional treatment of tragedy as being purposeful since it produces art. The article can be of interest to the scholars of sematic interaction between verbal and visual texts as well as cognitive poetic facets of prose texts.
APA, Harvard, Vancouver, ISO, and other styles
7

S. Rustad, Hans Kristian. "Lyrikk, medier." Tidskrift för litteraturvetenskap 48, no. 3 (2018): 66–78. http://dx.doi.org/10.54797/tfl.v48i3.7477.

Full text
Abstract:
Poetry, Media and the Pain of Others. On Some Ekphrases in Ghayath Almadhoun’s and Marie Silkeberg’s poems
 The article discusses ekphrases and the mediations of the pain of others in the poetry of Ghayath Almadhoun and Marie Silkeberg. One aspect that is explored is the relationship between poetry and visual media like film and photography in the study of ekphrasis. Another main aspect discussed is the role of the ekphrasis in mediated depiction of pain, suffering, oppression, and conflicts that take place at a distance from the experienced (and privileged) subject. These two aspects are brought together in a reading of three ekphrases, two ekphrases in Almadhoun’s and Silkeberg’s poetry book Till Damaskus (2014), and one ekphrasis in Silkeberg’s poetry book Atlantis (2017). The reading shows how Almadhoun and Silkeberg use visual media as a marker of the subjects’ absence, as a medium for the memory of oppression, suffering, and the pain of others, and as a source for the poems and the poets’ exile language.
APA, Harvard, Vancouver, ISO, and other styles
8

Karpukhina, T. P. "EKPHRASIS AND ITS FUNCTIONING IN SOMERSET MAUGHAM′S NOVEL “THE MOON AND SIXPENCE”." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 200–205. http://dx.doi.org/10.21603/2078-8975-2017-2-200-205.

Full text
Abstract:
The article investigates the phenomenon of verbal representation of a work of fine arts in literature known under the term of ekphrasis. The object of investigation is ekphrasis as presented in the novel by S. Maugham “The Moon and Sixpence”. Specific features of ekphrasis, its functions and linguistic means of expression are subjected to analysis. The novel contains five ekphrastic inclusions – descriptions of the pictures painted by the main character: a full-length portrait, a landscape, a wall-painting, a fruit-piece, a family portrait. Being different in genre, these pictures share some common features typical of ekphrasis. The description, given in the form of a dialogue or a monologue, includes the invariable features characteristic of an archetypal scheme of ekphrasis. Linguistic manifestation of these archetypal features is connected with visual perception, with strong emotions, with the notions of beauty, miracle, mystery, singularity, spirituality, looking life-like. Ekphrastic descriptions reflect the impression the pictures have made on a certain character, his/her being either an art connoisseur or an ignoramus. Ekphrasis fulfils various functions: an aesthetically-appreciative, a descriptive, an emotionally-expressive, a character-drawing and a hermeneutic function.
APA, Harvard, Vancouver, ISO, and other styles
9

Ferreira, Joicy Silva, and Miriam De Paiva Vieira. "From Brushes to Lenses: An Ekphrastic Stroll in "A Line Made by Walking" by Sara Baume." Lublin Studies in Modern Languages and Literature 44, no. 2 (2020): 51. http://dx.doi.org/10.17951/lsmll.2020.44.2.51-62.

Full text
Abstract:
<p>There is a sizeable body of scholarship concerning the ekphrastic relation of literature to painting – however, there has been ascending interest in other sources of inspiration, such as photography. The aim of this paper is to explore whether the categories used to analyse ekphraseis of paintings might apply to the ekphraseis inspired by photography in Sara Baume’s <em>A Line Made by Walking </em>(2017), considering that they provide insightful information regarding the creative process of the protagonist and her inner state. The notion of ekphrasis (Clüver, Vieira, Webb) and theories of photography (Barthes, Machado, Sontag) will be used as theoretical support.</p>
APA, Harvard, Vancouver, ISO, and other styles
10

Zhitenev, Aleksandr A. "ON SEVERAL ‘HERMITAGE’ EKPHRASES BY VIKTOR KRIVULIN." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 83–89. http://dx.doi.org/10.17072/2073-6681-2021-1-83-89.

Full text
Abstract:
In the practice of the Soviet literary underground, it was important to restore connections with tradition, hidden or edited according to the ideological models. Dialogue with tradition was recognized as a condition for achieving creative independence and cultural identity. Naturally, many texts created outside official Soviet literature have a wide layer of intertextual and intermedial references, often pointing to cultural layers and semantic areas that are not related to each other. A typical example of such an allusional multilayeredness and polyreferentiality is poetic ekphrasis. One of the most important literary figures of the Soviet samizdat was the poet Viktor Krivulin. In his samizdat books, many texts have obvious markers of ekphrastic descriptions referring to fine art, music, and cinema; a typical feature of his poetry is ‘complex ekphrasis’, which combines references to different works. This article deals with several of his poems related to the collection of paintings at the Hermitage, in particular the texts devoted to the paintings by Bartolomeo Murillo and Tiziano Vecellio. Krivulin’s reception of fine art was found to be influenced by his reading experience: the interpretation of the paintings is correlated with other examples of cultural reception of the same artist. Thus, ekphrasis is not only a description of a particular work but also the experience of reflection on the history of perception of an artist in culture, as well as the experience of self-relation with other ekphrases. The form of ekphrastic text thus appears for the poet as a means of historical and culturological reflection.
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Ekphrasis"

1

Schweinfurth, Dagmar. "Ekphrasis topôn und ekphrasis tropôn Aspekte der topographischen Ekphraseis in der griechischen Prosa der Kaiserzeit und Spätantike /." [S.l. : s.n.], 2005. http://nbn-resolving.de/urn:nbn:de:bsz:16-propylaeumdok-886.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Paraforou, Fani. "Ekphrasis und Geste." Diss., Ludwig-Maximilians-Universität München, 2012. http://nbn-resolving.de/urn:nbn:de:bvb:19-184795.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Zago, Leandro. "Ekphrasis through otherness." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/131012.

Full text
Abstract:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2015.<br>Made available in DSpace on 2015-03-18T21:08:56Z (GMT). No. of bitstreams: 1 332877.pdf: 802411 bytes, checksum: 282bf80c1479920de4d7706ad2591940 (MD5) Previous issue date: 2015<br>Abstract : Opposing the contemporary literary reductionism of ekphrasis to a verbal representation of a painting, a sculpture, a drawing, or a photograph, this research views otherness as the object of contemplation. Through the present rereading of ekphrasis, the investigation will seek 1) to analyze how the ekphrastic characteristics of Walcott`s poetry in his latest work White Egrets promote more companionship than antagonistic views between poetry and painting, and; 2) to analyze how ekphrasis transforms the imagery of Derek Walcott`s créole identity into an aesthetic object of contemplation, depicting it in the similar way of a work of art. More specifically, the discussion analyses how the cultural relations/representations between the self and the other provide an ?ekphrastic situation? for Derek Walcott in the Caribbean?s complex colonial legacy. The poet`s ekphrastic act to render private and personal identity intimacies will lean on the nonfixity of the image, or its motion in stasis. The main theoretical concepts that sustain this investigation are drawn from the works of W.J.T. Mitchell (1980, 1986, 1994, 1996), Cheeke (2008), Loizeaux (2008), and Hall (1989, 1993, 1996, 1997).<br><br>Opondo-se ao reducionismo literário contemporâneo de que a écfrase seja somente uma representação verbal de uma pintura, uma escultura, um desenho ou uma fotografia, esta pesquisa vê a própria alteridade como objeto de contemplação. Através desta releitura da écfrase, a presente investigação visa 1) analisar como as características ecfrásticas da poesia de Derek Walcott em sua última coleção de poesias intitulada White Egrets (Garças Brancas) propiciam mais companheirismo que visões antagônicas entre poesia e pintura, e; 2) analisar como a écfrase transforma a imagem da identidade crioula de Derek Walcott em um objeto estético de contemplação, retratando-a de uma forma semelhante a uma obra de arte. Mais especificamente, a discussão analisa como as relações/representações culturais entre o eu-individual e o outro propiciam uma  situação ecfrástica para Derek Walcott no complexo legado colonial Caribenho. O ato ecfrástico do poeta ao relatar aspectos privados e pessoais de sua identidade revelar-se-á embasado na infixidez da imagem, ou seja, seu imobilismo em movimento. Os principais conceitos teóricos que sustentam esta investigação foram retirados das obras de W.J.T. Mitchell (1980, 1986, 1994, 1996), Cheeke (2008), Loizeaux (2008), e Hall (1989, 1993, 1996, 1997).
APA, Harvard, Vancouver, ISO, and other styles
4

Coombes, Justin. "Photography, memory and ekphrasis." Thesis, Royal College of Art, 2012. http://researchonline.rca.ac.uk/1280/.

Full text
Abstract:
Recollected Places: Photography, Memory and Ekphrasis. The practice component of my PhD, ‘Recollected Places’, consists of exhibitions combining my work as an artist in still photography, video and installation and books that combine text and the photographic image. My written thesis, ‘Photography, Memory and Ekphrasis’ looks at a number of artworks from the 1950s to the present day which employ the photography-ekphrasis relationship. ‘Ekphrasis’ is the verbal description of visual works of art, for example, Homer's imaginary evocation of Achilles' shield in The Iliad. It became the object of intense academic scrutiny during the 1980s, as part of cultural theory’s emergent ‘visual turn’ and its attendant concentration upon image-text relations. The Iliad’s extended description of the shield, and the world of peace that it describes, are noticeably different from the ‘real’ events of the Trojan wars described throughout the rest of the poem. However, the ekphrastic scenes, whilst being distinctly different in tone, are arguably as ‘lifelike’ as the rest of the action described. So, from this very earliest recorded instance of ekphrasis, we can see how the mode opens up fundamental ontological questions about art and its place in the world that would be highlighted by conceptual art almost three millennia later. What holds more presence? The physical work itself, or the idea of the work? In a similar fashion, the invention of photography raised questions that were not methodically articulated until the 1980s. Thus a body of research from the early 1990s onwards has addressed the relationship between ekphrasis and photography. However, the vast majority focuses on ekphrastic writing about photography: ‘poems for photographs’, in James Heffernan’s phrase. The small extant literature that focuses on photography’s relationship to ekphrasis tends to emphasise the technical aspects of the medium. My research is both the first book-length study that I am aware of to examine ekphrasis’s relationship to photography and the first such study that I know of to be written by a practising visual artist. I consider recent writing on ekphrasis through the prism of various psychoanalytic theories, particularly those from recent debates on photography and melancholia. I examine the absence of the ‘lost object’ that is both the very condition for ekphrasis and melancholia and a precondition of all photographs: simultaneously trace of the object and reminder of its absence.
APA, Harvard, Vancouver, ISO, and other styles
5

Hauck, Evan William. "Vergil's Contribution to Ekphrasis." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384779011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Chinn, Christopher M. "Statius and the discourse of ekphrasis /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11467.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Garcia, Gismara Rosane. "Frames literários : a ekphrasis n'O Conquistador /." Araraquara : [s.n.], 2008. http://hdl.handle.net/11449/91584.

Full text
Abstract:
Orientador: Márcia V. Zamboni Gobbi<br>Banca: Leila de Aguiar Costa<br>Banca: Sonia Helena de Oliveira Raimundo Piteri<br>Resumo: Esta dissertação pretende demonstrar a relação que Almeida Faria, escritor português, promove entre palavra e imagem na configuração da narrativa do romance O Conquistador (1990), em que há uma intenção comunicativa e representativa de escrita como forma de expressão do percurso histórico português. Por meio da instrumentação teórica da Ekphrasis, será analisada a relação entre o texto não-verbal das imagens que acompanham toda a trama da obra, desde a capa e nos sete capítulos - cujas composições são do artista luso Mário Botas (1953-1983) - e as descrições dessas imagens dentro da narrativa. Na observação desta relação, serão identificados processos ekphrásicos, de acordo com o entendimento moderno da sua teoria, através dos quais será demonstrado como a Ekphrasis baseia-se nas imagens não-verbais para criar outras imagens verbais a partir dessa apropriação, o que sugere estratégias representativas que compõe a relação, atribuindo à narrativa vivacidade de linguagem e, ao mesmo tempo, narratividade ao texto não-verbal, aspectos que trabalham para ampliar e plurissignificar os sentidos do texto.<br>Abstract: This dissertation intends to show the relation that Almeida Faria, Portuguese writer, promotes between word and picture in the organization of the narrative of the novel O Conquistador (1990), in which there is a communicative and representative intention of writing as a way of expression of Portuguese historic rout. By means of theoric instrumentation of the Ekphrasis, will be analyzed the communication between non-verbal text of the pictures that follow throughout the plot of the work, from cover and through the seven chapters, which compositions belong to Portuguese artist Mário Botas (1953-1983), and the descriptions of these pictures in the narrative. In the observation of this relation will be identified ekphrastics process, according to modern understanding of his theory, which one will be shown how the Ekphrasis takes as base, the pictures to create other verbal images from these appropriations, which suggest representative strategies that compose the relation, attributing vivacity of language to the narrative and in the same time, narrative way to the non-verbal text aspects that work to broaden and give several meanings to the senses of the text.<br>Mestre
APA, Harvard, Vancouver, ISO, and other styles
8

Garcia, Gismara Rosane [UNESP]. "Frames literários: a ekphrasis n´O Conquistador." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/91584.

Full text
Abstract:
Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-06Bitstream added on 2014-06-13T20:13:46Z : No. of bitstreams: 1 garcia_gr_me_arafcl.pdf: 2698386 bytes, checksum: 57264367d5edcd6e66c4e130e47ad7dc (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>Esta dissertação pretende demonstrar a relação que Almeida Faria, escritor português, promove entre palavra e imagem na configuração da narrativa do romance O Conquistador (1990), em que há uma intenção comunicativa e representativa de escrita como forma de expressão do percurso histórico português. Por meio da instrumentação teórica da Ekphrasis, será analisada a relação entre o texto não-verbal das imagens que acompanham toda a trama da obra, desde a capa e nos sete capítulos – cujas composições são do artista luso Mário Botas (1953-1983) - e as descrições dessas imagens dentro da narrativa. Na observação desta relação, serão identificados processos ekphrásicos, de acordo com o entendimento moderno da sua teoria, através dos quais será demonstrado como a Ekphrasis baseia-se nas imagens não-verbais para criar outras imagens verbais a partir dessa apropriação, o que sugere estratégias representativas que compõe a relação, atribuindo à narrativa vivacidade de linguagem e, ao mesmo tempo, narratividade ao texto não-verbal, aspectos que trabalham para ampliar e plurissignificar os sentidos do texto.<br>This dissertation intends to show the relation that Almeida Faria, Portuguese writer, promotes between word and picture in the organization of the narrative of the novel O Conquistador (1990), in which there is a communicative and representative intention of writing as a way of expression of Portuguese historic rout. By means of theoric instrumentation of the Ekphrasis, will be analyzed the communication between non-verbal text of the pictures that follow throughout the plot of the work, from cover and through the seven chapters, which compositions belong to Portuguese artist Mário Botas (1953-1983), and the descriptions of these pictures in the narrative. In the observation of this relation will be identified ekphrastics process, according to modern understanding of his theory, which one will be shown how the Ekphrasis takes as base, the pictures to create other verbal images from these appropriations, which suggest representative strategies that compose the relation, attributing vivacity of language to the narrative and in the same time, narrative way to the non-verbal text aspects that work to broaden and give several meanings to the senses of the text.
APA, Harvard, Vancouver, ISO, and other styles
9

Bruinstroop, Jarad. "Reliefs: Biographical ekphrasis and the Queer artist." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/236549/1/8300771%2BJarad%2BBruinstroop%2BThesis.pdf.

Full text
Abstract:
Situated in the field of creative writing, this project identifies and conceptualises biographical ekphrasis: an emergent subgenre of ekphrasis in which poets respond to both a work of art and to the biography of the artist who created it. This thesis comprises an exegesis, which interrogates the complex relationships between artwork, artist, poet, and audience, and a collection of poems, Reliefs, which won the Thomas Shapcott Prize. Through practice-led research, this project elucidates both biographical ekphrasis’s unique amalgam of fact and fiction and its particular temporal complexities, and reveals a mode capable of a capacious and protean reckoning with history.
APA, Harvard, Vancouver, ISO, and other styles
10

Zinz, Jessica Dawn. "The Horse Lies Down Like a Person." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300641286.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Ekphrasis"

1

Kotopoulē, Marika. Ekphrasis. Ekdoseis Kastaniōtē, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Marino, S. Ekphrasis. Aracne, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Panagiotidou, Maria-Eirini. The Poetics of Ekphrasis. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11313-0.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Portesine, Chiara. "Una specie di biennale allargata": Il giuoco dell'ecfrasi nel secondo romanzo di Edoardo Sanguineti. Fabrizio Serra editore, 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kyriakidēs, Grēgorēs G. Theia ekphrasis: Technikē tēs Vyzantinēs hagiographias. G.G. Kyriakidēs, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Alfred, De Armas Frederick, ed. Ekphrasis in the age of Cervantes. Bucknell University Press, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Joan, Krieger, ed. Ekphrasis: The illusion of the natural sign. Johns Hopkins University Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Jordon, Katie. Commentary on a non-existent self-portrait. Frog Hollow Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Hebert, Bernhard D. Schriftquellen zur hellenistischen Kunst: Plastik, Malerei und Kunsthandwerk der Griechen vom vierten bis zum zweiten Jahrhundert. F. Berger, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

John. Tabula mundi. Edizioni dell'Orso, 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Ekphrasis"

1

Pfisterer, Ulrich. "Ekphrasis." In Metzler Lexikon Kunstwissenschaft. J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04949-0_28.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gracia, Dominique. "Ekphrasis." In The Palgrave Encyclopedia of Victorian Women’s Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_433.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Heller, Jakob Christoph. "Ekphrasis." In Handbuch Idylle. J.B. Metzler, 2022. http://dx.doi.org/10.1007/978-3-476-05865-2_63.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Gracia, Dominique. "Ekphrasis." In The Palgrave Encyclopedia of Victorian Women's Writing. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_433-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Löhr, Wolf-Dietrich. "Ekphrasis." In Metzler Lexikon Kunstwissenschaft. J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00331-7_38.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Erzen, Jale N. "Ekphrasis." In The Routledge Companion to Literature and Art. Routledge, 2024. http://dx.doi.org/10.4324/9781003273356-20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Pfisterer, Ulrich. "Bildbeschreibung → Ekphrasis." In Metzler Lexikon Kunstwissenschaft. J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04949-0_17.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bruhn, Siglind. "Musical ekphrasis." In The Routledge Handbook of Music Signification. Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-30.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Pfisterer, Ulrich. "Bildbeschreibung → Ekphrasis." In Metzler Lexikon Kunstwissenschaft. J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00331-7_21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Hatchwell, Sophie. "Spectatorship and Ekphrasis." In Performance and Spectatorship in Edwardian Art Writing. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17024-0_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Ekphrasis"

1

Laurenzo, Tomas. "Ekphrasis." In TEI '19: Thirteenth International Conference on Tangible, Embedded, and Embodied Interaction. ACM, 2019. http://dx.doi.org/10.1145/3294109.3301269.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Laurenzo, Tomas. "Ekphrasis." In ARTECH2017: Eighth International Conference on Digital Arts. ACM, 2017. http://dx.doi.org/10.1145/3106548.3106602.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ponomareva, Olga. "Ekphrasis In Cognitive-Communicative Interpretation." In Philological Readings. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.04.02.62.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shkurskaya, E. A. "Variations Of Vivified Ekphrasis In Foreign Prose Of XIX Century." In SCTCGM 2018 - Social and Cultural Transformations in the Context of Modern Globalism. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.03.02.187.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Santoso, Agus, Sri Rahmah Ramadhoni, and Luluk Fikri Zuhriyah. "Using Ekphrasis of Emotional Writing for Improving Emotional Regulation Skills." In 2nd  International Seminar on Guidance and Counseling 2019 (ISGC 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200814.016.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Laryutenko, M. A. "EKPHRASIS ARTISTIC FUNCTIONS IN THE NOVEL «MAIDEN'S HAIR» BY M. SHISHKIN." In Proceedings of the IX (XXIII) International Scientific and Practical Conference of Young Scientists. TSU Press, 2022. http://dx.doi.org/10.17223/978-5-907572-04-1-2022-93.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Liu, Fen. "Ekphrasis Makes Still Artifacts Speak: Taking “If National Treasure Can Talk” as Example." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.023.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Chen, Fan. "The Theme of Heart of Darkness from the Perspective of Ekphrasis." In 2nd International Conference on Language, Communication and Culture Studies (ICLCCS 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211025.049.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Montanari, Valeria. "In search of a possible dialogue between restoration and ruins. From ekphrasis to the ‘new whole’ evoked by the architectural fragment." In FORTMED2024 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18120.

Full text
Abstract:
The ruins, the buildings in the state of ruins, the architectural fragments that characterize a landscape are increasingly involved in planning interventions; however, these interventions often go beyond the narrow field of conservation, which has as its aim the transmission to the future of the values still existent from pre-existence, but also from that of restoration in its present meaning, to encroach on real compositional exercises where the new architecture does not enter into any relationship with the ancient. It is possible, however, to glimpse in contemporary work also a conscious attention to the aesthetic and historical values transmitted by the buildings to the state of ruins that in their transformation have found a new balance.The relationship that is established over time with the environmental context makes the ruin ‘second work of art’ characterized by a new spatiality. This new spatiality will have to be considered both if there are still residual formal traces able to tell the historical past of the pre-existence (and also any relationship with other architectural emergencies, such as in the case of a fortified system to defend and control a given territory), both when the pre-existence in its fragmentary state has become a ‘new whole’.
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography