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Relevant bibliographies by topics / Ekphrasis poetry

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Academic literature on the topic 'Ekphrasis poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Ekphrasis poetry"

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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 (December 18, 2019): 20. http://dx.doi.org/10.31185/eduj.vol2.iss37.1106.

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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.

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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.

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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.

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Jabbar, Amjed L. "The Manipulation of History and Memory in Contemporary American Poetry: A Study of Ekphrasis in the Poetry of Jorie Graham." Al-Adab Journal 2, no. 111 (March 15, 2015): 45–62. http://dx.doi.org/10.31973/aj.v2i111.1596.

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Ekphrasis enables poets to invade the most difficult and sensitive areas of thought without the pressure of direct expression. Ekphrastic poetry has a tendency to draw together contradictions; the work of art acting as intermediary between points of opposition, tension and contrast. The presence of the ekphrastic object in a poem is an acknowledgement of the unbridgeable hermeneutic gap between poetry, history and the real, indeed it often acts as the marker that exposes this gap. Also in a practical way, through both its critical and art-historical backgrounds, the practice of ekphrasis is located very firmly within arguments of a temporal nature; it is important to remember that paintings have a material history as well as a conceptual one, and that contemporary poetry is increasingly taking into account, and even seeking to replicate in some cases, the space of the museum itself as well as the paintings within it. Therefore, the present paper aims at affording a new study of the poetry of the contemporary American poetess Jorie Graham through illuminating the rhetorical device of ekphrasis, which is meant to verbally represent what is already represented visually, and its relation to presentations of the most perplexing concepts in modern and contemporary literature in general and poetry in particular, namely, memory and personal history. The paper is an attempt to investigate how Jorie Graham uses images from painting, photography and films in her poems to manipulate time and represent personal history through memory which, in turn, leads to a consideration of how she uses ekphrasis to approach the ethics of representing public history, and how she uses the different temporal conventions of each genre to write about the past

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Lovatt, Helen. "Statius' Ekphrastic Games: Thebaid 6.531-47." Ramus 31, no. 1-2 (2002): 73–90. http://dx.doi.org/10.1017/s0048671x00001375.

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Statius is the arch-describer. Even when it was universally agreed that his poetry was essentially second-rate hack-work, his ability to evoke the visual and his relationship to works of art provided fascination and interest. Yet the ekphraseis in the Thebaid have not received much detailed critical attention. This paper looks at the double ekphrasis of the prizes at the end of the chariot race in Thebaid 6. If ekphraseis tend to be ignored and passed over, if ekphraseis are moments outside narrative, still visions for the viewer in the text, interludes, as it were, then an ekphrasis within a set of games is doubly distant from the thrust of the text. For games themselves have suffered the same marginalisation: read as purely ‘decorative’ or ‘imitative’ their importance for understanding the wider realities of the text has often passed unnoticed. An ekphrasis, then, is indeed a sort of game, and, I would argue, this is particularly so in this case. For Statius uses this passage to make a new move in his poetic contests with his predecessors. He takes one Homeric object and one Virgilian object, decorates them with Ovid and sets them against each other. Hinds has read the Achilleid as an Ovidian epic but Ovid is also extremely important in the Thebaid and much more work is needed on this.

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Brînzeu, Pia. "Shakespeare, the Ekphrastic Translator." Linguaculture 2015, no. 1 (June 1, 2015): 89–97. http://dx.doi.org/10.1515/lincu-2015-0038.

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Abstract In The Rape of Lucrece, the Shakespearean heroine admires a wall-painting illustrating a scene from the Trojan War. The two hundred lines of the poem in which Lucrece describes the ancient characters involved in the war represent a remarkable piece of ekphrastic transposition. It produces a vivid effect in the poem’s narrative, draws attention to the power of ekphrasis in guiding the reader’s interpretation, and represents an unrivalled example of embedded ekphrasis, unique in Renaissance poetry.

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Markov, Aleksandr V. "Complex ekphrasis in Russian poetry: basics of theory and one case." Vestnik of Kostroma State University, no. 2 (2019): 91–97. http://dx.doi.org/10.34216/1998-0817-2019-25-2-91-97.

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Along with a simple ekphrasis, a description of a separate work, we would like to single out a complex ekphrasis, a description of the whole museum hall or museum collection. Such a description implies an intense experience of space and is possible primarily in descriptive lyrics with intense drama. In the complex ekphrasis, one can see the infl uence not only of tastes, but also of artistic criticism ideas of the time. It is proved that the poem "The Escape to Egypt" by Nikolay Zabolotsky (1955) is a complex ekphrasis, which arose under the indirect infl uence of Charles Pierre Baudelaire’s poetry and Alexandre Benois’s artistic criticism, describing the effects of one of the Hermitage halls. The infl uence of the plots presented in this hall of the Hermitage on poetic decisions could also be traced in later poetry.

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Barry, P. "Contemporary Poetry and Ekphrasis." Cambridge Quarterly 31, no. 2 (June 1, 2002): 155–65. http://dx.doi.org/10.1093/camqtly/31.2.155.

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Verdonk, Peter. "Painting, poetry, parallelism: ekphrasis, stylistics and cognitive poetics." Language and Literature: International Journal of Stylistics 14, no. 3 (August 2005): 231–44. http://dx.doi.org/10.1177/0963947005054479.

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Ekphrasis is a sub-genre of poetry addressing existent or imaginary works of art. Though now a term in poetics, its cultural roots go back to classical rhetoric, which shows that the two have always been in an osmotic relationship. In a wider context, ekphrasis is also the natural outcome of the traditionally strong bond in Western art between poetry and the visual arts, which Aristotle regarded as imitative arts because both make use of mimetic representation. This close link found its fullest expression in Horace’s famous simile Ut pictura poesis. Different periods of Western art history had different ekphrastic agendas, ranging from Homer’s description of the making of the shield of Achilles in the Iliad to Auden’s ‘Musée des Beaux Arts’ on some pictures by Pieter Brueghel the Elder. Auden may have set the fashion, but as it happened this 16th-century Flemish painter became the favourite muse of a great many other 20th-century poets, in both Europe and the USA. As an illustration of this genre, I present a reading of William Carlos Williams’ s ekphrastic poem ‘The Dance’, which was inspired by Brueghel’s picture ‘The Kermess’. In my analysis I combine the tools of stylistics with those of cognitive poetics, which has embraced the cognitive linguistic theory that any act of language use can potentially be related to some underpinning mental faculty, for example, experience, memory, perception, imagination, and emotion. Along these lines, I try to show how my analysis and reading of the poem’s rhetorical elements, or perceived effects, might be traced to certain underlying cognitive structures such as mentally stored real-world experience, memories and images, genre knowledge, the human delight in repetitive formal patterns, the embodied experience of movement, spatial perception, figure-ground alignments in visual and other sensory perceptions, etc.

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Mathur, Divya. "Ekphrasis: Poetry That Deciphers Art." Motifs : An International Journal of English Studies 3, no. 2 (2017): 73. http://dx.doi.org/10.5958/2454-1753.2017.00010.1.

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Nasyrova, Diana R. "EKPHRASIS IN E.E. CUMMINGS’ POETRY." Volga Region Pedagogical Search 32, no. 2 (2020): 133–39. http://dx.doi.org/10.33065/2307-1052-2020-2-32-133-139.

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Dissertations / Theses on the topic "Ekphrasis poetry"

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

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Gehrke, Steve. "Michelangelo's seizure." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4463.

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Thesis (Ph.D.)--University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 27, 2009) Vita. Includes bibliographical references.

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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.

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Kimberley, Emma. "Ekphrasis and the role of visual art in contemporary American poetry." Thesis, University of Leicester, 2007. http://hdl.handle.net/2381/9042.

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This thesis engages with three US poets – Jorie Graham, Charles Wright and Mark Doty – as well as using other writing, from the Modernists to the ekphrastic collection, to engage with the context of ekphrasis, ‘the verbal representation of visual representation’, in the US. After an introduction that evaluates previous work on ekphrasis and studies the forms of engagement between visual and verbal art, a section of three chapters is devoted to each poet. The first explores Jorie Graham’s work on abstract painting, photography and film, analyzing how she uses the different temporal conventions of each genre to write about the past. The second section looks at the links between memory and present perception in the work of Charles Wright and his struggle with how to represent as he follows the path to abstraction before returning to the more simple desire to say what he sees, accepting the sleight of hand that is necessarily a part of this. The third section goes on to explore the work of Mark Doty, a poet who embraces illusion in representation, arguing that the process of creating and deconstructing illusions is a fundamental part of how we define our own identity as well as how we make space for ourselves within the community. Refuting accusations that ekphrastic writing often depends too heavily on the visual artwork for its credibility, this section considers how it can be used positively as a tool for legitimation by writers who come from a minority perspective, analysing the visual aspect of poems on cruising, drag and public sex performances. A final section uses the relatively new phenomenon of the ekphrastic collection – with work by Cole Swensen, Debora Greger and Claudia Rankine– to examine how ekphrasis deals with issues of gender and iconic cultural images.

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Toropov, Stephen William. "Interpretation As Art: A Collection and Examination of Ekphrastic Poetry." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429877149.

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Hardaway, Reid F. "Ovid's Wand: the brush of history and the mirror of ekphrasis." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492857067229058.

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Campanello, Kimberly. "Writing the sheela-na-gig : semiotic complexity, ekphrasis, and poetic persona in the poetry collection 'Strange Country'." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25958/.

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This mixed-mode PhD comprises an ekphrastic poetry collection, Strange Country, and a critical component that accounts for my research and writing processes and articulates my poetics of ekphrasis as practised in the collection. Strange Country focuses on sheela-na-gigs, stone carvings of naked female figures that prominently depict the vulva, which are found on medieval churches, castles, wells, and town walls in Ireland, England, Scotland, and Wales. Historians and archaeologists, as well as poets, have suggested that they were/are variously meant to: act as warnings against lust and sin; ward off evil; aid in conception and childbirth; symbolize female power and sexuality; demonstrate the power of nature to give and take life; signify sovereignty over land and nation; or facilitate passage from one state to another. However, their meaning, dating, and origins are impossible to determine definitively. In contrast to these approaches that decide the sheela-na-gigs' meaning, I aimed to poetically inhabit their semiotic complexity in a full-length collection. This aspiration arose from my research and writing process, which included reading the literature on sheela-na-gigs, visiting over sixty of them, and reviewing from a practitioner's perspective literary criticism on ekphrasis as well as existing poems on sheela-na-gigs by other poets. As I strove for this semiotic complexity in my poems, I deployed a range of poetic techniques. On the one hand, I wrote lyric and narrative associative poems that have a clearly defined, autobiographical poetic persona using a technique I call 'associative ekphrasis'. On the other hand, I also chose to forgo consistent use of this speaker and came to write found and visual poems derived from an archive I compiled of documents on sheela-na-gigs (dating from the 19th century to the present). Finally, I wrote a long poem that uses a hybrid formal strategy. The critical commentary traces my creative decision-making process with a particular focus on the position and function of the poetic 'I'. In the commentary, I use Roland Barthes's notion of punctum and Federico García Lorca's duende to describe my experience of the carvings and my desire to emphasize their inexplicable impact and enigma in my poems. In order to analyze the sheela poems by other poets and to account for my own writing practice, I use literary terminologies and debates relating to ekphrasis, and I employ perspectives on the poetic 'I' from the poetics of lyric 'deep image' and 'postmodern witness' poetry as articulated by Robert Bly, Alicia Ostriker, and Tony Hoagland alongside the 'uncreative' poetics of Kenneth Goldsmith and Craig Dworkin. In addition to contributing a collection of poems to the body of creative responses to sheela-na-gigs, this collection and critical commentary complicate the argument that poems written in a lyric mode are necessarily more expressive, 'creative', or faithful to the ekphrastic object than those written 'uncreatively' using found text and ultimately demonstrate the productive possibilities of an non-polarized approach to these debates.

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Tracy, Jordan Elizabeth. "Framing the Sacred in Twentieth- and Twenty-First-Century American Ekphrasis." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556022.

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Framing the Sacred revisits the significance of ekphrasis, the verbal rendering of a visual representation, in modern and contemporary American poetics. Although a seemingly marginal strain of lyric poetry, ekphrasis is a literary crucible in which the problems of representation converge, catalyzing a unique process of enchantment and disenchantment. Through an examination of a number of twentieth- and twenty-first-century poems, I argue that this enchantment has bearing on how we envision the import of religion in twentieth- and twenty-first-century America and its literature. On account of its liminal status--a text that is "betwixt and between" the verbal and visual--ekphrasis does not need to meditate explicitly on spiritual, sacred, or religious objects to undermine and destabilize our definitions of such terms. Each chapter in Framing the Sacred examines the manifestation of a single trope of containment--the figure of the frame, the genre of still life, the genre of the self-portrait, and the acts of collection and curation--and discovers the various ways the ekphrastic work of William Carlos Williams, Wallace Stevens, Marianne Moore, Elizabeth Bishop, Charles Wright, A.E. Stallings, and Jorie Graham constructs and deconstructs such tropes. The pattern that emerges from a number of dramatically different ekphrases reveals the generative value of loosening the frames through which we consider the sacred in the study of literature and the visual arts.

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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.

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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.

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Cunningham, Kay M. "Transforming texts : adaptation and ekphrasis in the poetry of Derek Mahon and Paul Muldoon." Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/15008/.

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This thesis will explore the historical inheritance and use of adaptation and ekphrasis in the poetry of Derek Mahon and Paul Muldoon. Both poets include other texts in their work to perpetuate dialogues on history, aesthetics and poetic form, using images, symbols and formal structures to question what poetry can or should do. Looking at the revisionary power of language this thesis will turn to examples of adaptation and revision in the work of each poet. In the poetry of Mahon, it will show how ekphrasis engages with questions of history and aesthetics through the relationship between visual and verbal forms. The result is a poetry that develops temporal and spatial qualities connected to the poet's sense of self and to his philosophical and intellectual concerns for poetry. In his later collections, ekphrasis contributes to Mahon' s metaphysical landscapes as they resist the symbolic or unified vision of cultural archetypes to focus on the 'harsh realities' of a contemporary world at war. In the poetry of Muldoon, the visual and verbal components of language develop a conscious boundary between the image and the ideological and historical dialogues that surround it. Muldoon develops stories out of objects that establish a dialogue on the formal qualities of language and of the poet's relation to it. His poetry self-consciously engages with the structural and conceptual problems of representation, adapting the ideas of philosophers, writers and poets to develop a poetry that expresses what it cannot state. His resistant form demonstrates a responsibility to both himself and the present time in which he is writing.

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Books on the topic "Ekphrasis poetry"

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Musical ekphrasis: Composers responding to poetry and painting. Hillsdale, NY: Pendragon Press, 2000.

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Museum mediations: Reframing ekphrasis in contemporary American poetry. New York, NY: Routledge, 2005.

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Description in classical Arabic poetry: Waṣf, ekphrasis, and interarts theory. Leiden: Brill, 2003.

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

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Virgil's epic designs: Ekphrasis in the Aeneid. New Haven: Yale University Press, 1998.

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Getting the picture: The ekphrastic principle in twentieth-century Spanish poetry. Lewisburg [Pa.]: Bucknell University Press, 1997.

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The ekphrastic encounter in contemporary British poetry and elsewhere. Burlington, VT: Ashgate, 2012.

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Écfrasis e imitación artística en la poesía hispánica contemporánea: Diez propuestas. Sevilla: Renacimiento, 2012.

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L'ecphrasis dans la poésie espagnole: 1898-1988. Limoges: Lambert-Lucas, 2010.

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Clemente, Linda M. Literary objets d'art: Ekphrasis in medieval French romance, 1150-1210. New York: P. Lang, 1991.

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Book chapters on the topic "Ekphrasis poetry"

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Ellis, Jonathan. "Ekphrastic Poetry." In A Companion to Poetic Genre, 614–26. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444344318.ch43.

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Boyd, Candice P. "Ekphrastic poetry as method." In Geopoetics in Practice, 163–71. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge research in culture, space and identity: Routledge, 2019. http://dx.doi.org/10.4324/9780429032202-11.

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Boyd, Candice P. "Ekphrastic poetry as method." In Geopoetics in Practice, 163–71. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge research in culture, space and identity: Routledge, 2019. http://dx.doi.org/10.4324/9780429032202-13.

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Rodríguez, Macarena Rodríguez. "William Wordsworth’s Ekphrastic Poetry." In Painting Words, 79–90. New York : Routledge, 2020. | Series: Routledge interdisciplinary perspectives on literature: Routledge, 2020. http://dx.doi.org/10.4324/9780429242601-8.

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Keefe, Anne. "An Organism of Words: Ekphrastic Poetry and the Pedagogy of Perception." In Art's Teachings, Teaching's Art, 63–78. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-7191-7_5.

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Gulla, Amanda Nicole, and Molly Hamilton Sherman. "What We Talk About When We Talk About Texts: Landscape with the Fall of Icarus and Ekphrastic Poetry." In Inquiry-Based Learning Through the Creative Arts for Teachers and Teacher Educators, 51–66. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57137-5_3.

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Smith, Steven D. "The Chaste Bee and the Promiscuous Bee: Poetic Self-Reflexivity in John of Gaza’s Ekphrasis and the Cycle of Agathias." In Studi e testi tardoantichi, 131–47. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.stta-eb.5.119223.

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Miller, Andrew D. "The Suppressed Ekphrasis." In Poetry, Photography, Ekphrasis, 104–35. Liverpool University Press, 2015. http://dx.doi.org/10.5949/liverpool/9781781381908.003.0005.

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Miller, Andrew D. "The Anti-Ekphrasis." In Poetry, Photography, Ekphrasis, 217–29. Liverpool University Press, 2015. http://dx.doi.org/10.5949/liverpool/9781781381908.003.0008.

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Miller, Andrew D. "Introduction." In Poetry, Photography, Ekphrasis, 1–8. Liverpool University Press, 2015. http://dx.doi.org/10.5949/liverpool/9781781381908.003.0001.

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Conference papers on the topic "Ekphrasis poetry"

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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.

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Trefonides, Nicholas, and Emmanuel Saake. "Sociopolitical Network for Ekphrastic Poetry and Algorithmic Co-authoring." In 2019 Sixth International Conference on Social Networks Analysis, Management and Security (SNAMS). IEEE, 2019. http://dx.doi.org/10.1109/snams.2019.8931815.

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