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Journal articles on the topic 'Ekphrasis'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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.

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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 o

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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.

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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

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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.

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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

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4

Jones, Mike Rodman. "Chaucerian Ekphrasis: Craft, Intertext, Dispence." Parergon 41, no. 1 (2024): 191–212. http://dx.doi.org/10.1353/pgn.2024.a935340.

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Abstract: Ekphrasis has long been a topic of interest to literary scholars, but until quite recently medieval ekphrasis has existed on the periphery of most accounts of it. This article explores the distinctive nature of medieval ekphrasis in passages of description in the Middle English poetry of Geoffrey Chaucer. It argues that Middle English poetry was underpinned by a poetics of craft which made later ekphrastic theorisations, especially the concept of the 'paragone'—the confrontation of the arts, especially poetry and painting—problematic. It argues that Chaucer uses ekphrasis as a type o

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Ayupova, K. F. "Ekphrasis as a stylistic means of creating an image in biography (based on the biographies of Georgiana, Duchess of Devonshire)." Philology and Culture, no. 4 (December 28, 2024): 194–200. https://doi.org/10.26907/2782-4756-2024-78-4-194-200.

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The article explores instances of actual ekphrasis (verbal representation of actual works of art) in biographies of the 18th century British socialite Georgiana, Duchess of Devonshire. Through the case study approach, we argue that ekphrasis serves as a stylistic device in biographies and helps shape the reader’s perception of the subject. Published in different decades of the 20th century, the four biographies of the Duchess illustrate historical move of the biography from novelization towards factual narrative. The study leads to a conclusion that, in the analyzed biographies, the use of ekp

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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 (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

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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.

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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

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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.

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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 rheto

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

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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

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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.

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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 c

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Н.Н., Ступницкая. "ЭКФРАСИС В СТРУКТУРЕ РОМАНА А.И. СОЛЖЕНИЦЫНА «В КРУГЕ ПЕРВОМ»". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, № 87 (2018): 162–70. https://doi.org/10.5281/zenodo.1322544.

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The article is devoted to the study of the ekphrastic components of Solzhenitsyn’s novel “The First Circle”. The approaches to the study of ekphrasis in contemporary humanitarian discourse are considered. As ekphrasis is a representation in the literary work of works of other forms of art, it is significantly expanded narrative space. Some ekphrases of the paintings in the novel by A.I. Solzhenitsyn “The First Circle” are described in the article. Peculiarities of the influence of ekphrases on the recipient are determined. The description of Kondrashev-Ivanov&rsqu

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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.

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<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)

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Huen. "Tamar Yoseloff as Ekphrasist, and Her Hidden Sweetheart: ‘I Took His Heart, Placed It/in an Ivory Case’." Humanities 8, no. 2 (2019): 77. http://dx.doi.org/10.3390/h8020077.

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This article investigates Tamar Yoseloff’s different engagements with the visual arts in her ekphrastic poems by focusing on her first collection Sweetheart (1998). There are many critical studies about the poetic ekphrastic tradition, but there is rarely an in-depth investigation into a poet’s dedication to ekphrasis. This article suggests that Tamar Yoseloff’s dedication to ekphrasis is traceable to her earliest work. With a close analysis of three poems from Sweetheart—‘The Two Fridas’, ‘The Arnolfini Marriage’ and ‘The Visible Man’, I argue that the book is a sustained exploration of the a

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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 t

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Bilyk, Nataliia L. "“GLORY TO ARTISTIC SKILL”: EKPHRASIS OF FINE ARTS IN P. ZAHREBELNYI`S NOVEL “WONDER”." Alfred Nobel University Journal of Philology 1, no. 25 (2023): 103–14. http://dx.doi.org/10.32342/2523-4463-2023-1-25-8.

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In the retrospective panorama of comparative studies experience, attention to ekphrasis seems to be more and more intense. The multifaceted phenomenon of ekphrasis does not lose its relevance over time. Vivid ekphrastic features are observed, in particular, in the epic novel “Wonder” written by Pavlo Zahrebelnyi, a prominent figure of Ukrainian literature. The purpose of the investigation is to select the fine arts ekphrasis features in the novel by Pavlo Zahrebelnyi, as well as to highlight the formal and semantic dimensions and the overall semantic configuration of the expressed poetics. The

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Ciobanu, Estella. "Ut pictura poesis: Ekphrasis, Genre Painting and Still Life in Virginia Woolf, Margaret Atwood and Alice Thompson." American, British and Canadian Studies 38, no. 1 (2022): 33–53. http://dx.doi.org/10.2478/abcsj-2022-0003.

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Abstract This article examines descriptions of persons, objects or scenes in three novels, Virginia Woolf’s To the Lighthouse, Margaret Atwood’s The Handmaid’s Tale and Alice Thompson’s The Book Collector, which either straightforwardly or obliquely evoke various painting genres. I argue that although ekphrasis typically names nowadays “the verbal representation of visual representation” (James Heffernan), certain descriptions beg for a revision of the modern category of ekphrasis. My present corpus includes both ekphrases ‘proper’ and descriptions which evoke, without referring to, portraits,

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Dubrovska-Tomchenko, Y. V. "EKPHRASIS IN LITERARY ENGLISH DISCOURSE." Writings in Romance-Germanic Philology, no. 1(52) (June 25, 2024): 53–60. http://dx.doi.org/10.18524/2307-4604.2024.1(52).310309.

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The article systematises the experience of researchers of the concept of ekphrasis, reveals its significance and role in literary English discourse. The main focus is on analysing the definition of ekphrasis, identifying its functions in literature and art, historical foundations of the term, and the given classification of ekphrasis. The definitions offered by researchers in this field, their contributions and developments in the understanding of ekphrasis are considered. The article is based on the research of leading scholars such as J. Heffernan, P. Wagner, W. Mitchell, D. Carrier, G. Scot

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Knaus, Juliann. "Power, Painting, and Poetry: Mixed-Race Ekphrasis in Natasha Trethewey's Thrall." ariel: A Review of International English Literature 55, no. 2 (2024): 59–84. http://dx.doi.org/10.1353/ari.2024.a925429.

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Abstract: This article contributes to scholarly conversations about ekphrasis by combining the field of mixed-race studies with ekphrastic concerns in a term I have coined "mixed-race ekphrasis." The ekphrastic strategy employed by Natasha Trethewey in her poetry might most aptly be termed mixed-race ekphrasis, and thus I will unpack this term through close readings of her book of poetry Thrall (2012). In particular, Trethewey's renderings of the historical art form of Mexican casta paintings connect issues of mixed-race identity across the visual and the textual and encourage links between na

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Bilyk, Natalia. "Ekphrasis of painting in P. Zahrebelny's novel "Wonder"." Current issues of social sciences and history of medicine, no. 2 (August 14, 2023): 99–103. http://dx.doi.org/10.24061/2411-6181.2.2022.363.

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At the modern stage, ekphrasis was recognized as one of the most fruitful and effective phenomena for comparativistics – the manifestation of specific expressive mediation of one medium in the figurative field of another. Bright, contrasting manifestations of ekphrasis are observed in the content of the novel “Wonder” by the classic of Ukrainian literature P. Zahrebelny. They focus on painting and the work of artists, contain prognostic features of the current semantic potential, and thereby determine the relevance of their coverage. The purpose of the study, therefore, is to distinguish the f

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Harden, S. J. "Eros Through the Looking-Glass? Erotic Ekphrasis and Narrative Structure in Moschus' Europa." Ramus 40, no. 2 (2011): 87–105. http://dx.doi.org/10.1017/s0048671x00000357.

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Moschus' Europa has long been recognised to be a highly visual and pictorial poem. It is also dominated by an erotic theme: the sexual awakening of the maiden Europa and her love affair with Zeus. This article will focus on a connection between erotic theme and highly visual narrative that has received attention in relation to Greek texts from the Roman Empire, but none in relation to Moschus. The sophisticated and self-conscious use of vision and ekphrasis in erotic narrative which has been traced in authors such as Achilles Tatius (in particular by Goldhill) is anticipated, I shall argue, in

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Benderrah, Ahlam, and Samira Al-Khawaldeh. "The Significance of Art Ideology in Ekphrasis: Marianne Moore’s “The Camperdown Elm”." Theory and Practice in Language Studies 12, no. 10 (2022): 2014–23. http://dx.doi.org/10.17507/tpls.1210.08.

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This study examines the relationship between the genre of ekphrastic poetry and art ideology. It provides a theoretical argumentation on this innate association in continuation with James W. Heffernan’s observations in the field. The study argues that ekphrasis is theoretically related to the practice of art criticism, which, in its turn, stands on art ideological grounds. Two hypotheses about the nature of the relationship that combines ekphrasis and art ideology are generated from this theoretical investigation. The first is that art ideology is a sine qua non to ekphrasis, and the second is

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Kaya, Nilay. "Ekphrastic Expression of Western Painting and Cultural In-Betweenness in Evliyâ Çelebi’s Seyahatnâme (The Book of Travels)." Culture and Dialogue 10, no. 2 (2022): 143–57. http://dx.doi.org/10.1163/24683949-12340118.

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Abstract Ekphrasis, a part of the ancient Greek and Roman rhetorical practices, is, in its most basic sense, the verbal expression of a visual object. Since the description of Achilles’ shield in Homer’s Iliad, ekphrasis has been a literary practice used for the portrayal of visual artworks through fiction and poetry, as well as in prose written in history, art criticism and travelogues. Ekphrasis is a convenient literary tool for analysing the author’s treatment of the object depicted. Ekphrastic studies enable the identification of the author’s relationship with objectivity and subjectivity,

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Sycheva, Vladislava S. "THE EKPHRASIS IN BIOFICTION ABOUT ARTISTS. A CASE STUDY OF GIOVANNA PIERINI’S LA DAMA CON IL VENTAGLIO." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2025): 194–202. https://doi.org/10.28995/2686-7249-2025-2-194-202.

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The article analyzes the use of ekphrasis as a key literary device in Giovanna Pierini’s biographical novel The Lady with the Fan, which is about the life of the artist Sofonisba Anguissola. Relying on classifications proposed by Elena Yatsenko, the author is using a typologization of ekphrasis “by volume”: the “full” ekphrasis, which provides detailed descriptions of works, often emphasizing technical and stylistic details, and the “condensed” ekphrasis, where works of art are briefly mentioned, serving to advance the plot and convey the cultural context of the era. Special attention is given

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PATAKI, VICTOR. "BILDER AUS DER SPRACHE? EKPHRASIS, GEDÄCHTNIS UND DAS PROBLEM DER SPRACHLICHEN BILDER IN EINEM GEDICHTBAND VON IMRE ORAVECZ." Acta Philologica, no. 60 (2023) (September 30, 2023): 57–68. http://dx.doi.org/10.7311/acta.60.2023.5.

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The dilemma of comparing picture and lyrical language can be perfectly parallelized with the unique (generical or media related) process of ekphrasis. This process also highlights the cohesive being of mediums from an iconological, and also from a poetological point of view. The interpretation of ekphrasis could accessed from the contradiction of memorising techniques and genres. Hence apart from the examination of ekphrasis and poems, the dichotomies of prose and poem, prosepoem and longpoem, as well as narration and lyricism are also part of the study. Several descriptive poems of Imre Orave

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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

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Pimenova, Alina V. "From words to images: Metaphorical ekphrasis in the works of Victor Pelevin." World of the Russian Word, no. 3 (2024): 79–87. https://doi.org/10.21638/spbu30.2024.309.

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The article is dedicated to the study of metaphorical ekphrasis in the novels of contemporary writer Victor Pelevin. In literary texts, metaphor in ekphrasis represents not only an element of visual imagery creation but also a means of organizing events within the frame of vision. Metaphorical ekphrasis is defined as a type in which metaphor occupies a dominant position in creating a visual image that participates in constructing the ekphrastic narrative and organizing the text’s meaning. Based on the linguocognitive approach developed by G. Lakoff and M. Johnson, as well as J. Miller’s logica

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Rath, Pragyan. "Empowerment through Communication in Shakespeare’s Lucrece: Transitioning from Economic to Artistic Transactions." Journal of Human Values 24, no. 3 (2018): 223–31. http://dx.doi.org/10.1177/0971685818774115.

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It is the metaphoric doubling of past into present that gave Renaissance ekphrastic representations its techniques of self-understanding. In effect, in the ekphrastic doubling of the past in the present, we notice that historicity becomes an inalienable part of its contemporary credibility. The reduction of distance between life and art, as evident in contemporary obsession with selfies and photographs, thus begins to become the central project of early modern ekphrasis, enhanced in the Renaissance. In sum, art becomes equivalent to legal tender, and ekphrasis, a principle of exchange and subs

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Slobodian, Elvira Yu. "THE FUNCTION OF EKPHRASIS AND METAEKPHRASIS IN PODCASTS ABOUT PLASTIC ARTS." Articult, no. 3 (September 30, 2023): 51–61. http://dx.doi.org/10.28995/2227-6165-2023-3-51-61.

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The article for the first time distinguishes between the functions of ekphrasis, narrative ekphrasis and metaekphrasis in Russian podcasts about plastic arts on the example of eight episodes dedicated to painters and architects. Episodes of podcasts “Art for Guys”, “Talk About Art”, “About History and Art. Project YaAndArt”, “Walls have ears”, “Art and Facts” have become the empirical material of the research. By reviewing the content of episodes, it is proved that polyfunctionality is inherent in both ekphrasis, including its narrative version, and metaekphrasis. In particular, the examples g

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Brînzeu, Pia. "Shakespeare, the Ekphrastic Translator." Linguaculture 2015, no. 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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Karpukhina, T. P. "EKPHRASIS AND ITS FUNCTIONING IN THE NOVEL "POINT COUNTER POINT" BY ALDOUS HUXLEY." Bulletin of Kemerovo State University, no. 1 (April 25, 2018): 184–92. http://dx.doi.org/10.21603/2078-8975-2018-1-184-192.

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The current article features the phenomenon of ekphrasis in the novel "Point Counter Point" by Aldous Huxley. The ekphrastic text consists of two conspicuous parts, the central and the peripheral ones. Various aspects of ekphrasis are subjected to analysis. The aesthetic component of the ekphrastic text reveals itself in the description of the picture painted by the main hero as a genuine work of art with great aesthetic value. The semiotic component manifests itself in the phenomenon of semiotic transference: the iconic signs of painting are translated into the verbal signs of a work of liter

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Hannah, Robert. "Imaging the Cosmos: Astronomical Ekphraseis in Euripides." Ramus 31, no. 1-2 (2002): 19–32. http://dx.doi.org/10.1017/s0048671x0000134x.

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Ekphraseis of works of art exist at several levels. There is the physical, observable reality of an object or objects, or the potential for such. That (potential) reality may then be depicted within a work of art. A literary artist imaginatively (re-)presents that depiction, in the ekphrasis itself, and may further imbue the resultant description with a symbolic value for the story in which it is set. Not all of these layers need exist, nor need the correspondence between them be precise or even real. An ekphrasis, for example, may describe a completely fictitious object, which itself, however

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Lunyova, Tetyana V. "AD HOC CATEGORIES IN THE EKPHRASTIC SPACE OF JOHN BERGER'S ESSAYS ABOUT PAINTING: A COGNITIVE LINGUISTIC ANALYSIS." MESSENGER of Kyiv National Linguistic University. Series Philology 23, no. 1 (2020): 20–30. http://dx.doi.org/10.32589/2311-0821.1.2020.207221.

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AbstractThe study presents a cognitive linguistic analysis of the process of ad hoc category construction as a meansof ekphrasis in John Berger's essays about painters' works of art. After offering a theoretical description of an adhoc category as contrasted with a natural category, the paper proceeds with a detailed analysis of how an ad hoccategory is constructed in one of Berger's essays. It then examines the typical features of the process of ad hoccategory creation in the ekphrastic space of the essays.RésuméThe purpose of this study is to reveal the linguocognitive characteristics of the

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Pirholt, Mattias. "Beatrice Cenci’s Ghost." Nineteenth-Century Literature 78, no. 3 (2023): 211–33. http://dx.doi.org/10.1525/ncl.2023.78.3.211.

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Mattias Pirholt, “Beatrice Cenci’s Ghost: Ekphrasis, Spectrality, and the Art of Copying in Nathaniel Hawthorne’s The Marble Faun” (pp. 211–233) This article investigates the spectrality of ekphrases and art reproductions, the haunting presence of the original work’s aura and the copyist’s self-sacrifice. Focusing on the ekphrastic description of the Baroque painting Beatrice Cenci (1599), earlier attributed to Guido Reni, in Nathaniel Hawthorne’s The Marble Faun (1860), the article argues that the ekphrastic representation of the copy of the painting embodies the dialectic of enargeia and ekp

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Connolly, Thomas C. "Primitive Passions, Blinding Visions: Arthur Rimbaud's “Mystique” and a Tradition of Mystical Ekphrasis." PMLA/Publications of the Modern Language Association of America 132, no. 1 (2017): 101–18. http://dx.doi.org/10.1632/pmla.2017.132.1.101.

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In 1935 the Dutch scholar Johannes B. Tielrooy argued that Arthur Rimbaud's prose poem “Mystique” (c. 1872) was an ekphrasis, or literary description, of the central panel of Hubert and Jan van Eyck's altarpiece Adoration of the Mystic Lamb (1432). Although this hypothesis was deemed credible for a number of years, it is now thought to be unlikely that the painting inspired the poem or that the poem is an instance of ekphrasis. However, Tielrooy's ekphrastic interpretation can still be used to reveal elements of the poem otherwise hidden to the reader. I demonstrate the potential of Tielrooy's

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SAIKOVSKA, Olena, and Vadim PIENOV. "INTERMEDIALITY CODES IN «A BALLAD FOR GEORG HENIG» BY VICTOR PASKOV." Ezikov Svyat volume 20 issue 3, ezs.swu.v20i3 (October 20, 2022): 396–402. http://dx.doi.org/10.37708/ezs.swu.bg.v20i3.10.

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The article is dedicated to the study of the functioning of different types of ekphrasis in "A Ballad for Georg Henig" written by the Bulgarian writer of the second half of the twentieth century Viktor Paskov. Intermediality as a form of interconnectedness of different types of art is challenging for literature and intermedial approach is the main research method used in the article. The aim is to study the interaction of verbal and audio (music), verbal and visual (coloristic and architectural models) arts in the literary text - "A Ballad for Georg Henig" (the object of research). The subject

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Sukhanova, Irina. "Ekphrasis as a Mechanism for Creating a Dialogue between the Author and the Reader in an Intermedial Text." Izvestia of Smolensk State University, no. 1(69) (May 23, 2025): 51–64. https://doi.org/10.35785/2072-9464-2025-69-1-51-64.

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The article is devoted to the role of ekphrasis in building a dialogue between the reader and the author of a literary text. The intermedial approach to the analysis of the original text of the novel «Headlong» written by a modern British writer Michael Frayn allows us to determine the mechanism of the dialogue, which is based on such elements as addressing the reader and joint immersion in the world of fine art through ekphrasis. Narrating the story the author forces the reader to look at the world around through the eyes of an artist. Allusions to famous works of fine art, ekphrases of the p

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Osian, Aida Elisabeta. "THE NEW READER'S EYE-SCAN AND THE INTERMEDIAL PROCESSES / NAUJOJO SKAITYTOJO AKIS-SKAITYTUVAS IR INTERMEDIALŪS PROCESAI." CREATIVITY STUDIES 5, no. 1 (2012): 11–21. http://dx.doi.org/10.3846/20297475.2011.633246.

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Within the field of meaning (re)production, the newly fashioned media theories have been stemming from Marshall McLuhan's and Mikhail Bakhtin‘s “hybrids” and generating what we are presently experiencing as flexible theoretical phenomena, exposed to immediate change and constant altering, due to the overflow of media-related materialities. Orbiting the ancient concept of ekphrasis, this study aims to immerse the product resulted from the literary description of a work of art in the conceptual works-in-progress known as intermediality and remediation. The aspects directly addressed here are: wh

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Wibisono, Sony. "Photography as Cinematic Ekphrasis: Intermedial Study in Garin Nugroho’s Opera Jawa." Harmonia: Journal of Arts Research and Education 23, no. 1 (2023): 64–78. http://dx.doi.org/10.15294/harmonia.v23i1.39633.

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The Opera Jawa (2006), directed by Garin Nugroho is an Indonesian film with unique hybridity of art media (music, dance, visual art installation, acting, photography). This study aims to provide an overview of photographic ekphrasis’s form, process, and function. This research used a descriptive qualitative method. Data collection was through observation with the note-taking documentation technique. Through intermedial studies, data analysis was carried out using Agnes Petho’s cinematic ekphrasis and photo-filmic theory. The results of the study show that Opera Jawa displays the characteristic

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Dziedzic, Joanna. "Pomiędzy ekfrazą a hypotypozą – motyw Matki Boskiej Opłakującej w "Bursztynowym jabłku" Haliny Twaranowicz." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 58, no. 1 (2023): 79–94. http://dx.doi.org/10.36770/bp.773.

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In this article, I discussed the issue of ekphrasis and hypotyposis, understood as literary descriptions (and interpretations) of works of art, in poems by Halina Tvaranovich, a Belarusian poet and professor of Slavic literature. The subject of the study was poems from the volume Amber Apple, including ekphrastic and hypotypical references to motifs of religious art such as the Pietà and the Mother of Sorrows. The paper discusses analogies between these poems and the sculpture of Pietà by Nicolas Cousteau, Orthodox iconography, and religious painting. The author of Amber Apple is primarily int

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Alisoy, H. "EXPLORING EKPHRASIS: BRIDGING VISUAL ART AND LITERATURE." Sciences of Europe, no. 131 (December 27, 2023): 89–93. https://doi.org/10.5281/zenodo.10435083.

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This article, "Exploring Ekphrasis: Bridging Visual Art and Literature," examines the instruction of ekphrasisin stylistics courses, focusing on the varied student demographics at Nakhchivan State University. Ekphrasis, thepractice of conveying visual art through verbal description, offers unique pedagogical challenges and opportunities, especially in a setting with students of diverse linguistic and cognitive capabilities. The study employed amixed-method approach with 30 fourth-year English Language Teaching students, categorizing them into twogroups based on their engagement and motivation.

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Khaninova, Rimma, and Elsa Valetova. "Ekphrasis in Contemporary Kalmyk Poetry: Exodus and Return Memorial by Ernst Neizvestny." Бюллетень Калмыцкого научного центра Российской академии наук 4, no. 24 (2022): 152–73. http://dx.doi.org/10.22162/2587-6503-2022-4-24-152-173.

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Introduction. The relevance and novelty of the study be determined by that Kalmyk poetic ekphrases dealing with the deportation, exile and return of the people (1943–1957) remain underinvestigated. Goals. The article aims to identify the function of ekphrasis in poetry addressing the mentioned historical period. Materials and methods. The work focuses on two poems of Kalmykia’s national poet Ye. Budzhalov — Exodus and Return (Kalm. Буйслһн болн Босхлһн, 1997) and The Mask of Sorrow (1996) — dedicated to the monuments of E. Neizvestny in Elista and Magadan, these be supplemented with poems by R

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Garrigós García, Beatriz. "“The Oval Portrait” on Art and Art on “The Oval Portrait”: A Case Study of Ekphrasis and Book Illustration." Grove - Working Papers on English Studies 31 (July 30, 2024): e7392. http://dx.doi.org/10.17561/grove.v31.7392.

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This article explores the relationship between ekphrasis and book illustration. To this aim, it analyses Edgar Allan Poe’s “The Oval Portrait” and compares it with three different renditions in painting made by Jean-Paul Laurens, Arthur Rackham and Santiago Caruso. After some theoretical considerations to clarify what is understood by ekphrasis, this paper proves how it is possible to understand “The Oval Portrait” as an example of ekphrastic literature. From this standpoint, and drawing from secondary literature on how the vampiric undertones of the short story explore the relationship betwee

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Saikovska, Olena. "Інтермедіальні коди у творах болгарських фантастів ХХ–ХХІ ст". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, № 3 (2021): 177–88. http://dx.doi.org/10.36770/bp.629.

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The article is dedicated to the study of the intermedial codes in the fantastic works written by the Bulgarian writers of the 20th-21st centuries. Intermediality as a form of interconnectedness of different types of art is challenging for literature research. The aim of the article is to study the interaction of verbal and audio (music), verbal and visual (pictorial art, architectural models), verbal and performing/synthetic (cinema, theatre) arts. The object of the research is the Bulgarian fantastic literature of the 20th-21st centuries, where the subject is codes of intermediality. The meth

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Artigas Albarelli, Irene M. "Glifos antiguos y futuros. Algunas ekphrases mexicanas." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (January 15, 1997): 229–39. http://dx.doi.org/10.22201/ffyl.poligrafias.1997.2.1604.

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Al comenzar a escribir este trabajo, Irene M. Artigas elegió, buscando ekphrases, los poemas «Cabeza olmeca» y «Tulum» de José Emilio Pacheco y «Melismas para Gunther Gerzso» de Francisco Hernández. Si una ekphrasis es «the verbal representation of a visual representation», varios poemas sobre esas extraordinarias cabezas y sobre las pinturas de Gunther Gerzso eran claros ejemplos de este tipo de obras. Pero, ¿qué puede decirse al respecto de un poema sobre un grupo de edificios? Al comenzar a escribir pensó que había cometido un error: las obras arquitectónicas, según su «sentido común,» no p

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Langlands, Rebecca. "‘Can You Tell What it is Yet?’ Descriptions of Sex Change in Ancient Literature." Ramus 31, no. 1-2 (2002): 91–110. http://dx.doi.org/10.1017/s0048671x00001387.

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This paper returns at first to ancient definitions of ekphrasis as vivid description, including that of bodies or persons conjured up before the eyes of the reader. The passages from Ovid and Diodorus Siculus on which I focus (DS Library 32.10-12 and Ovid Met. 9.669-797), represent descriptions not of works of art, but of bodies. To complicate matters, these bodies as objects of description are also undergoing change from one sex to another; they are also events. Nevertheless, although they do not describe works of art, this literary trope (ekphrasis in the modern understanding of the term) do

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Moyano-Rejano, Rocío. "The Poetics of Ekphrasis: A Stylistic Approach Marie-Eirini Panagiotidou. West Chester: Springer International Publishing, 2022. 267pp. ISBN: 978-3-031-11312-3." Revista Alicantina de Estudios Ingleses, no. 40 (January 31, 2024): 251–55. http://dx.doi.org/10.14198/raei.2024.40.13.

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The Poetics of Ekphrasis: A Stylistic Approach is a collection of six chapters that seek to explore different modalities and the evolution of ekphrasis in different contexts. This concept, originally defined as "the literary representation of art", has gradually evolved throughout history and has led to the expansion of such a term in an outstanding range of scholarly interest. The term has been, and still is, used to refer to the interaction between the various arts. Nonetheless, in recent years, contemporary ekphrastic practices have subverted the traditional relation of the representational

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Lunyova, Tetyana. "An intermedial perspective for ekphrasis: How photographs contribute to writing about artists." Cognition, Communication, Discourse, no. 28 (August 25, 2024): 58–77. http://dx.doi.org/10.26565/2218-2926-2024-28-04.

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This paper examines the relationships that emerge in the process of meaning-making in the anthology Writers on artists (Minton, 2001) between photographic portraits of the artists and other images and verbal textual components. The findings demonstrate that as indexes, the photographs of the artists testify to the artists’ real existence; as icons, these photographs contribute to the representation of the artists’ uniqueness. Through these two roles, the artists’ photographic portraits ensure the status of the ekphrasis in the essays as “actual ekphrasis” (in Hollander’s terms). In interaction

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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 (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 lo

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Rippl, Gabriele. "Ekphrasis als intermediale Transkriptionstechnik." Kulturwissenschaftliche Zeitschrift 4, no. 3 (2020): 25–40. http://dx.doi.org/10.2478/kwg-2020-0004.

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AbstractIm Anschluss an Ludwigs Jägers medientheoretische Überlegungen zu Transkriptionsprozessen untersucht der Beitrag „Ekphrasis als intermediale Transkriptionstechnik“ historisch unterschiedlich zu verortende literarische und kunstkritische Ekphrasen bekannter Kunstwerke sowie die von ihnen angestoßenen Rezeptionsketten. Gefragt wird, welche Rolle intermedialen, transhistorischen und transkulturellen ekphrastischen Transkriptionen heute zukommt: Zerspielen sie als Rekursionsschleifen vom Bild zum Wort, vom Wort zum Wort, vom Wort zum Bild den Status des Originals und lassen nur Kopien zurü

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Scott, Grant F. "Ekphrasis." European Romantic Review 3, no. 2 (1992): 215–24. http://dx.doi.org/10.1080/10509589208569965.

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