Ekphrasis - Knowledge

198:"The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all 'the ends of the world are come', and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed! All the thoughts and experiences of the world have been etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Greece, the lust of Rome, the reverie of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of the 689:(1890/1891) tells how Basil Hallward paints a picture of the young man named Dorian Gray. Dorian meets Lord Henry Wotton, who espouses a new hedonism, dedicated to the pursuit of beauty and all pleasures of the senses. Under his sway, Dorian bemoans the fact that his youth will soon fade. He would sell his soul so as to have the portrait age rather than himself. As Dorian engages in a debauched life, the gradual deterioration of the portrait becomes a mirror of his soul. There are repeated instances of notional ekphrasis of the deteriorating figure in the painting throughout the novel, although these are often partial, leaving much of the portrait's imagery to the imagination. The novel forms part of the magic portrait genre. Wilde had previously experimented with employing portraits in his written work, as in " 195: 649:, also contains examples of ekphrasis; the play's protagonist, Arnold Rubek, is a sculptor. Several times throughout the play he describes his masterpiece "Resurrection Day" at length and in the many different forms the sculpture took throughout the stages of its creation. Once again the evolution of the sculpture as described in the play can be read as a reflection on the transformation undergone by Rubek himself and even as a statement on the progression Ibsen's own plays took. Many scholars have read this final play (stated by Ibsen himself to be an 'epilogue') as the playwright's reflection on his own work as an artist. 662:. In this novel, the protagonist, Prince Myshkin, sees a painting of a dead Christ in the house of Rogozhin that has a profound effect on him. Later in the novel, another character, Hippolite, describes the painting at much length depicting the image of Christ as one of brutal realism that lacks any beauty or sense of the divine. Rogozhin, who is himself the owner of the painting, at one moment says that the painting has the power to take away a man's faith. This is a comment that Dostoyevsky himself made to his wife Anna upon seeing the actual painting that the painting in the novel is based on, 210:, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands. The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern thought has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life. Certainly, Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea." The 782: 419:"You know, Phaedrus, that is the strange thing about writing, which makes it truly correspond to painting. The painter's products stand before us as though they were alive, but if you question them, they maintain a most majestic silence. It is the same with written words; they seem to talk to you as if they were intelligent, but if you ask them anything about what they say, from a desire to be instructed, they go on telling you just the same thing forever". 33: 1408:, it foreshadows the changes that Jason will potentially undergo during his adventure. Through the telling of the scenes on the cloak, Apollonios relates the scenes on the cloak as virtues and morals that should be upheld by the Roman people, and that Jason should learn to live by. Such virtues include the piety represented by the Cyclops during the forging of Zeus' thunderbolts. This is also reminiscent of the scene in 135: 1573:

and there is more to respond to because another art form is being evaluated. In addition, as the material taught has both a visual and linguistic basis new connections of understanding are formed in the student's brain thus creating a stronger foundation for understanding, remembrance and internalization. Using ekphrasis to teach literature can be done through the use of

672:. The painting was seen shortly before Dostoyevsky began the novel. Though this is the major instance of ekphrasis in the novel, and the one which has the most thematic importance to the story as a whole, other instances can be spotted when Prince Myshkin sees a painting of Swiss landscape that reminds him of a view he saw while at a sanatorium in 1088:

an element of competition with the art it describes, aiming to demonstrate the superior ability of words to "paint a picture". Many subjects of ekphrasis are clearly imaginary, for example those of the epics, but with others it remains uncertain the extent to which they were, or were expected to be by early audiences, at all accurate.

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the artist before he has begun his creative work. The expression may also be applied to an art describing the origin of another art, how it came to be made and the circumstances of its being created. Finally it may describe an entirely imaginary and non-existing work of art, as though it were factual and existed in reality.

676:, and also when he first sees the face of his love interest, Nastasya, in the form of a painted portrait. At one point in the novel, Nastasya, too, describes a painting of Christ, her own imaginary work that portrays Christ with a child, an image which naturally evokes comparison between the image of the dead Christ. 570:

can be both lacking any definition and still provoking in the viewer dozens of distinct possible understandings, until the great mass of interpretations resolves into a Whale. This grounds all the interpretations while containing them, an indication of how Melville sees his own book unfolding around this chapter.

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There is speculation as to why Virgil depicted certain events, while completely avoiding others such as Julius Caesar's conquest of Gaul. Virgil clearly outlined the shield chronologically, but scholars argue that the events on the shield are meant to reflect certain Roman values that would have been

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Since the types of objects described in classical ekphrases often lack survivors to modern times, art historians have often been tempted to use descriptions in literature as sources for the appearance of actual Greek or Roman art, an approach full of risk. This is because ekphrasis typically contains

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may be the actor of or subject of ekphrasis. Although, for example, it may not be possible to make an accurate sculpture of a book to retell the story in an authentic way, it is the spirit of the book that may be conveyed by virtually any medium and thereby enhance the artistic impact of the original

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The rationale behind using examples of ekphrasis to teach literature is that once the connection between a poem and a painting are recognized, for example, the student's emotional and intellectual engagement with the literary text is extended to new dimensions. The literary text takes on new meaning

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Earlier in the epic, when Aeneas travels to Carthage, he sees the temple of the city, and on it are great works of art that are described by the poet using the ekphrastic style. Like the other occurrences of ekphrasis, these works of art describe multiple events. Out of these, there are eight images

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The difference in the descriptions of the two shields are easily discernible; the shield of Achilles depicts many subjects, whereas the shield made for Aeneas depicts the future that Rome will have, containing propaganda in favor of the Emperor Augustus. Much like other ekphrastic poetry, it depicts

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is an epic that was written by Virgil during the reign of Augustus, the first Emperor of Rome. While the epic itself mimics Homer's works, it can be seen as propaganda for Augustus and the new Roman empire. The shield of Aeneas is described in book eight, from lines 629–719. This shield was given to

1113:(fl. around 400) are often cited by art historians of the period to fill gaps in the surviving artistic record. The inadequacy of most medieval accounts of art is mentioned above; they generally lack any specific details other than cost and the owner or donor, and hyperbolic but wholly vague praise. 1338:

there is also a scene where Odysseus, disguised as a beggar, must prove to his wife, Penelope, that he has proof that Odysseus is still alive. She asks him about the clothes Odysseus was wearing during the time when the beggar claims he hosted Odysseus. Homer uses this opportunity to implement more

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Notional ekphrasis may describe mental processes such as dreams, thoughts and whimsies of the imagination. It may also be one art describing or depicting another work of art which as yet is still in an inchoate state of creation, in that the work described may still be resting in the imagination of

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features an intense use of ekphrasis as a stylistic manifesto of the book in which it appears. In the chapter "The Spouter Inn", a painting hanging on the wall of a whaler's inn is described as irreconcilably unclear, overscrawled with smoke and defacements. The narrator describes how this painting

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In his analogy, one bedness form shares its own bedness – with all its shortcomings – with that of the ideal form, or template. A third bedness, too, may share the ideal form. He continues with the fourth form also containing elements of the ideal template or archetype which in this way remains an

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The cloak and its depicted events lend more to the story than a simple description; in true ekphrasis fashion it not only compares Jason to future heroes such as Achilles and Odysseus, but also provides a type of foreshadowing. Jason, by donning the cloak, can be seen as a figure who would rather

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dying on the shore and is followed by a description of a sculpture that depicts a woman having a nightmare of an ex-lover returning to her. Both works of art can be interpreted as having much importance in the overall meaning of the play as protagonist Ellida Wangel both yearns for her lost youth

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when Thetis goes to see Hephaestus, and requisitions him to create a new set of armor for her son Achilles. Before he began creating the shield and armor, Hephaestus was forging 20 golden tripods for his own hall, and in the scene on Jason's cloak we see the Cyclops performing the last step of

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vividness what is happening or what is shown. For example, in the visual arts, it may enhance the original art and so take on a life of its own through its brilliant description. One example is a painting of a sculpture: the painting is "telling the story of" the sculpture, and so becoming a

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by using real things, such as a bed, for example, and calls each way a bed has been made a "bedness". He commences with the original form of a bed, one of a variety of ways a bed may have been constructed by a craftsman and compares that form with an ideal form of a bed, of a perfect

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spent on an island out at sea and is later in the play visited by a lover she thought dead. Furthermore, as an interesting example of the back-and-forth dynamic that exists between literary ekphrasis and art, in 1896 (eight years after the play was written) Norwegian painter

202:. She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants: and, as 343:

ever-present and invisible ideal version with which the craftsman compares his work. As bedness after bedness shares the ideal form and template of all creation of beds, and each bedness is associated with another ad infinitum, it is called an "infinite regress of forms".

1529:. Pallas is killed by the warrior Turnus, who plunders and wears the baldric. At the climax of the poem, when Aeneas is on the point of sparing Turnus's life, the sight of the baldric changes the hero's mind. The significance of the ekphrasis is hotly debated. 2341: 266:

The works of art described or evoked, may be real or imagined; and this may be difficult to discern. Ancient ekphrastic writing can be useful evidence for art historians, especially for paintings, as virtually no original Greco-Roman examples survive.

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of objects was regarded as a vital component of the subject. Not all examples lack attractiveness as literature. Writers on art for a wider audience produced many descriptions with great literary as well as art historical merit; in English

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Jason also bears similarities to Achilles: by donning the cloak, Jason is represented as an Achillean heroic figure due to the comparisons made between his cloak and the shield of Achilles. He also takes up a spear given to him by

876:'s "double-works" exemplify the use of the genre by an artist mutually to enhance his visual and literary art. Rossetti also ekphrasized a number of paintings by other artists, generally from the Italian Renaissance, such as 351:

It was this epitome, this template of the ideal form, that a craftsman or later an artist would try to reconstruct in his attempt to achieve perfection in his work, that was to manifest itself in ekphrasis at a later stage.

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him by his mother, Venus, after she asked her husband Vulcan to create it. This scene is almost identical to Thetis, the mother of Achilles, asking Hephaestus to create her son new weapons and armor for the battle of Troy.

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Ekphrasis has also been an influence on art; for example the ekphrasis of the Shield of Achilles in Homer and other classical examples are likely to have inspired the elaborately decorated large serving dishes in silver or

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which describes 64 pictures in a Neapolitan villa. Modern critics have debated as to whether the paintings described should be considered as real or imagined, or the reader left uncertain. Ekphrasis is described in

1150:, are among the most notable. As photography in books or on television allowed audiences a direct visual comparison to the verbal description, the role of ekphrasic commentary on the images may have increased. 2056:

Cecilia Lindhé, 'Bildseendet föds i fingertopparna'. Om en ekfras för den digitala tidsålder, Ekfrase. Nordisk tidskrift för visuell kultur, 2010:1, p. 4–16. ISSN Online: 1891-5760 ISSN Print: 1891-5752

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is described by Homer in an example of ekphrastic poetry, used to depict events that have occurred in the past and events that will occur in the future. The shield contains images representative of the

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is described as having "marvelous works," such as animals with piercing eyes and hogs in a grove of trees. It also contains multiple images of battles and occurrences of manslaughter. In

1389:. Jason's cloak can be examined in many ways. The way the cloak's events are described is similar to the catalogue of Women that Odysseus encounters on his trip to the Underworld. 1488:, which were the values inscribed on a shield given to Augustus by the Senate. This instance of ekphrasitc poetry may be Virgil's attempt to relate more of his work to Augustus. 1192:

in 1874, and then very popular in various arrangements for orchestra. The suite is based on real pictures, although as the exhibition was dispersed, most are now unidentified.

1545:; one in which Phaeton journeys to the temple of the sun to meet his father Phoebus. When Phaeton gazes upon the temple of the sun, he sees the following carvings: 1381:

The description of the cloak provides many examples of ekphrasis, and not only is modeled on Homer's writing, but alludes to several occurrences in Homer's epics

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have complained that the accounts of monastic chronicles recording now vanished art concentrate on objects made from valuable materials or with the status of

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Santarelli, Cristina (2019). "L'ékphrasis come sussidio all'iconografia musicale: Funzione metanarrative delle immagini nel romanzo modern e contemporaneo".

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Two cities – one where a wedding and a trial are taking place, and one that is considered to be Troy, due to the battle occurring inside the city (509–40)

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Ekphrasis and the uses of art, architecture and music are also of utmost importance in the modern Latin American novel, and particularly in the works of

860:– provides an example of the artistic potential of ekphrasis. The entire poem is a description of a piece of pottery that the narrator finds evocative. 989: 2910: 2850: 231:, comes from the Greek for the written description of a work of art produced as a rhetorical or literary exercise, often used in the adjectival form 3001: 1853:Über die von Prokop beschriebene Kunstuhr von Gaza, mit einem Anhang enthaltend Text und Übersetzung der Ekphrasis horologiou de Prokopius von Gaza 1525:

of Pallas (Aeneid X.495-505). The baldric is decorated with the murder of the sons of Aegyptus by their cousins, the Danaïds, a tale dramatized by

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of art to work and reflect on another art to illuminate what the eye might not see in the original, to elevate it and possibly even surpass it.

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any view from whichever perspective, be it a side elevation, a full panoramic view from above, or looking at a bed end-on is at a second remove

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Andreas Serafim: "Making the Audience: Ekphrasis and Rhetorical Strategy in Demosthenes 18 and 19", in "Classical Quarterly" 65 (2015) 96-108.

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A herd of cattle that is being attacked by two lions, while the Herdsman and his dogs try to scare the lions off the prize bull (573–86)

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concludes each chapter with an art curator's description of a naïve work of art as a means of introducing additional narrative voices.

458:, and later classical literary and rhetorical textbooks, and with other classical literary techniques. It was keenly revived in the 2334: 967: 3087:

Milner, Joseph O'Beirne, and Lucy Floyd Morcock Milner. Bridging English. 2nd ed. Upper Saddle River: Prentice, 1999. pp. 162–163.

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Ruth Webb: Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice. Surrey and Burlington: Ashgate, 2009.

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Die poetische Ekphrasis von Kunstwerken: eine literarische Tradition der Grossdichtung in Antike, Mittelalter und früher Neuzeit

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skills such as distinguishing different perspectives, interpreting, inferring, sequencing, compare and contrast and evaluating.

789:. It was completed by Angelo Monticelli c. 1820. This shield represents the art of ekphrastic poetry Homer used in his writings. 3108: 2966: 2601: 2391: 2217: 2150: 2114: 1872: 1845: 1806: 1764: 1750: 239:, either real or imagined. Thus, "an ekphrastic poem is a vivid description of a scene or, more commonly, a work of art." In 1339:

ekphrastic imagery by describing the golden brooch of Odysseus, which depicts a hound strangling a fawn that it captured.

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Olive, Peter (August 2021). "Red Herrings and Perceptual Filters: Problems and Opportunities for Aeschylus's Supplices".

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resort to coercion, making him a parallel to Odysseus, who uses schemes and lies to complete his voyage back to Ithaca.

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which gives the sequence its name, and contains other passages of ekphrasis, perhaps influenced by the many passages in

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Tamar Yacobi, "Verbal Frames and Ekphrastic Figuration", in Ulla-Britta Lagerroth, Hans Lund and Erik Hedling (eds.),

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This tendency is not restricted to classical art history; the evocative but vague mentions of objects in metalwork in

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Although not written as elaborately as previous examples of ekphrastic poetry, from lines 609–614 the belt of

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and the inevitable fate of the city of Troy. The shield of Achilles features the following nine depictions:

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periods made much use of ekphrasis, typically mainly of imagined works. In Renaissance Italy, Canto 33 of

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In the Middle Ages, ekphrasis was less often practiced, especially regarding real objects. Historians of

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that states a Knowledge editor's personal feelings or presents an original argument about a topic.

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Ekphrasis: Bildbeschreibung als Repräsentationstheorie bei Spenser, Sidney, Lyly und Shakespeare

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The Sister Arts: The Tradtition of Literary Pictorialism and English Poetry from Dryden to Gray

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A descriptive work of prose or poetry, a film, or even a photograph may highlight through its

286:, and in doing so, relate more directly to the audience, through its illuminative liveliness. 2667: 2493: 2464: 2195: 1811: 1790: 1769: 1574: 1016: 996:, 2006, English translation 2010 by Lawrence Venuti), an English collection by James Hoggard 626: 610: 1502:

The sacking of the tents of Rhesus and the Thracians, and their deaths by Diomedes (468–472)

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often used allusions and descriptions of Italian art in his works, and included the painter

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There are a number of examples of ekphrasis in music, of which the best known is probably

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Ekphrasis und Herrscherallegorie: Antike Bildbeschreibungen im Werk Tizians und Leonardos

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painted an image similar to the one described by Ibsen in a painting he also entitled

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Ekphrasis: Kunstbeschreibungen und virtuelle Räume in der Literatur des Mittelalters

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Priam begging for the return of his son, with the Trojan commanders nearby (483–488)

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of high importance to the Roman people and to the Emperor. These values may include

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have inspired many ekphrastic poems, including a prize-winning volume in French by

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finds very different scenes from those she expects. In contrast, his earlier poem "

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Tamar Yacobi, "The Ekphrastic Figure of Speech," in Martin Heusser et al. (eds.),

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Vision and the Visual Arts in Galdós. A Study of the Novels and Newspaper Articles

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Ekphrastic poetry is still commonly practiced. Twentieth-century examples include

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Grant F. Scott: "Copied with a Difference: Ekphrasis in William Carlos Williams'

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Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish Poetry

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Das Bildgedicht in Europa: Zur Theorie und Geschichte einer literarischen Gattung

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Beschreibungskunst, Kunstbeschreibung: Ekphrasis von der Antike bis zur Gegenwart

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Crossroad of Arts, Crossroad of Cultures: Ekphrasis in Russian and French Poetry

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Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis

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Twelve figures of the Zodiac, six on each side of the door to the temple (22–23)

512:, who spent his youth in Italy, used many Renaissance frescoes and paintings in 3122: 2017: 1069: 975: 911:, hinted at only by the poem's subtitle, "Verses Written under a Picture"; and 861: 849: 760: 696: 295: 3017: 2785: 1567: 3535: 3488: 3284: 2457: 2281: 1734: 1717: 1710:: "A Concert of Paintings: 'Musical Ekphrasis' in the Twentieth Century," in 1707: 1686: 1665: 1541: 1181: 1117: 1060: 1039: 1021: 971: 764: 727: 714: 455: 450: 248: 207: 1508:

The women of Troy in lamentation, praying to the gods to help them (479–482)

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storyteller, as well as a story (work of art) itself. Virtually any type of

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Poets on Painters: Essays on the Art of Painting by Twentieth-Century Poets

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made it as well as its completed shape. Famous later examples are found in

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This is a design of the Shield of Achilles based on the description in the

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can be found in the works of such influential figures as Spanish novelist

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Roberto E. Aras: "«Ecfrasis» y «sinfronismos» en la ruta de Ortega hacia

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Troilus being thrown from his Chariot as he flees from Achilles (473–478)

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Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis

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The seas that circle the Earth, the surrounding lands, and the sky (8–9)

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describes a picture gallery created by Merlin. In Spain, the playwright

243:, it might refer more broadly to a description of any thing, person, or 3515: 3419: 3392: 3324: 3314: 3294: 3269: 3217: 3002:"The Survival and Supremacy of Rome: The Unity of the Shield of Aeneas" 2212:. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 2006. 1102: 1075: 1027: 1019:

has composed a series of poems for ancient works of art, including the

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has pointed out, there are numerous allusive ekphrasis to paintings of

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Museum Mediations: Reframing Ekphrasis in Contemporary American Poetry

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began to become an academic subject in the 19th century, ekphrasis as

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Interart Poetics. Essays on the Interrelations of the Arts and Media,

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Rumi in Manhattan: An Ekphrastic Collection of Poetry and Photography

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Text as Picture: Studies in the Literary Transformation of Pictures

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In pursuit of the natural sign: Azorín and the poetics of Ekphrasis

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in ten movements (plus a recurring, varied Promenade) composed for

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or image in the form of which beds ought to be made; in short, the

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Maier Museum of Art at Randolph College Ekphrastic Poetry Web Page

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to point to the shipwreck of ideals. In this novel, as well as in

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a full picture, characterizing the whole bed is at a third remove

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tries to relate to another medium by defining and describing its

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Icons, Texts, Iconotexts: Essays on Ekphrasis and Intermediality

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Meisterwerke in Bildgedichten: Rezeption von Kunst in der Poesie

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The battle between Teleboans and the Sons of Electryon (746–751)

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Other examples of the genre from the nineteenth century include

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Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery

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Art Inscribed: Essays on Ekphrasis in Spanish Golden Age Poetry

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The Cloak of Jason is another example of ekphrastic poetry. In

1288: 1159: 1056: 945: 822: 817: 812: 630:, the first act begins with the description of a painting of a 497: 199: 1670:

Musical Ekphrasis: Composers Responding to Poetry and Painting

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Depictions of Agamemnon and Menelaus, Priam and Achilles (459)

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The fullest example of ekphrasis in antiquity can be found in

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Das tönende Museum: Musik interpretiert Werke bildender Kunst

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The home of a King where the harvest is being reaped (550–60)

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Ekphrastic poetry may be encountered as early as the days of

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Peter Bly has described the many uses of art in the works of

470: 356: 323: 2742:. New York: Harper Perennial Modern Classics. lines 609–614. 2594:

Felicia Hemans. Reimagining Poetry in the Nineteenth Century

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ekphrasis of a bed in another art form is at a fourth remove

311: 2711:"Orchestral Set No. 1: Three Places in New England – Notes" 2331:

Rhetoric, Science, and Magic in Seventeenth-Century England

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Neruda's Ekphrastic Experience: Mural Art and Canto general

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Educational value of using ekphrasis in teaching literature

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Another significant ekphrasis in the Aeneid appears on the

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personal reflection, personal essay, or argumentative essay

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http://blogs.getty.edu/iris/poem-for-a-victorious-athlete/

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Picture Theory: Essays on Verbal and Visual Representation

1826:. Ed. Carlos Mata Induraín. Pamplona: Eunsa, 2013: 77-92. 1404:

While Jason only wears the cloak while going to meet with

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The forging of Zeus' thunderbolts by the Cyclops (730-734)

3493: 2961:. Great Britain: Oxford World's Classics. lines 372–406. 2446:

Music in Art: International Journal for Music Iconography

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The Gazer's Spirit: Poems Speaking to Silent Works of Art

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The She Wolf and the suckling Romulus and Remus (629–634)

759:(1949), a character views a collection of statues at the 275: 259:, 'out' and 'speak' respectively, and the verb ἐκφράζειν 235:. It is a vivid, often dramatic, verbal description of a 2590:

The Fragile Image: Felicia Hemans and Romantic Ekphrasis

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Grant F. Scott: "Ekphrasis and the Picture Gallery", in

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The Sculpted Word: Keats, Ekphrasis, and the Visual Arts

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Quixotic Frescoes: Cervantes and Italian Renaissance Art

1008:), together with numerous individual poems; see more at 1000:(Wings Press, 2009), and a collection by various poets ( 753:

as Steve Wakefield attests. In one of his early novels,

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In: The Solovyov Research, 2011, No. 3, (31). P. 79–90.

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The building of Thebes by the sons of Antiope (735–741)

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Journalistic art criticism was effectively invented by

371:), it is not so much the form of each bed that defines 2079:

Tiziano's «Denarius of Caesar» and F.M. Dostoevsky's «

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Recreaciones quijotescas y cervantinas en la narrativa

1590:" ("Ekphrasis" and "synphronism" on Ortega's route to 1355:, Jason's cloak has seven events embroidered into it: 2876:

Transactions of the American Philological Association

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Transactions of the American Philological Association

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Carpentier's Baroque Fiction: Returning Medusa's Gaze

2305:. University Park: Pennsylvania State U Press, 1995. 1737:: "Vers une méthodologie de l'ekphrasis musical," in 1319:

The mighty Ocean as it encircles the shield (607–609)

1109:. The ekphrasic writings of the lawyer turned bishop 355:

Artists began to use their own literary and artistic

263:, 'to proclaim or call an inanimate object by name'. 2614:"For "Our Lady of the Rocks", by Leonardo da Vinci" 2040:

The Viewer as Poet: The Renaissance Response to Art

1745:and Danièle Piston. Paris: Hermann, 2007, 155–176. 1603:

The Shield of Achilles and the Poetics of Ekphrasis

952:" describes a particular real and famous painting, 57:. Unsourced material may be challenged and removed. 2874:Shapiro, H. A. (1 January 1980). "Jason's Cloak". 2814:Shapiro, H. A. (1 January 1980). "Jason's Cloak". 2415:Text and Visuality. Word and Image Interactions 3, 2403:. Columbus, OH: Pudding House Publications, 2005. 2180:. Lewisburg, PA: Bucknell University Press, 1997. 2109:. Berkeley: University of California Press, 1988. 1937:. Lewisburg, PA: Bucknell University Press, 1999. 1517:Penthesilea the Amazon, and her fighters (489–493) 1316:A scene with young men and women dancing (590–606) 1002:The Poetry of Solitude: A Tribute to Edward Hopper 2855:. The University of California Press. p. 120 2571: 2569: 1902:. Chicago: The University of Chicago Press, 1958. 1295:The Earth, Sea, Sky, Moon and the Cosmos (484–89) 522:briefly describes a group of erotic paintings in 504:also incorporated works of art in dramas such as 3533: 2929:Williams, R. D. (1981). "The Shield of Aeneas". 2639:"Rainer Maria Rilke, Torso of an Archaic Apollo" 2092:. Worms: Werner'sche Verlagsgesellschaft, 1985. 1963:Das Bildgedicht: Theorie, Lexikon, Bibliographie 1463:The Sea around the width of the shield (671–674) 852:poets. A major poem of the English Romantics – " 601:(1882), the narrator describes two paintings by 387:a bed as a physical entity is a mere form of bed 379:stages at which beds may be viewed that defines 270:Ekphrasis has been considered generally to be a 1539:There are several examples of ekphrasis in the 908:Symphony in White, No. 2: The Little White Girl 901:'s poem "Before the Mirror", which ekphrasizes 2566: 2192:Virgil's Epic Designs: Ekphrasis in the Aeneid 1923:. Chicago: University of Chicago Press, 1995. 1909:. Chicago: University of Chicago Press, 1993. 1097:are eventually always mentioned by writers on 3166: 2303:Literary Realism and the Ekphrastic Tradition 1555:Scenes of men, beasts, and local gods (20–21) 656:employed ekphrasis most notably in his novel 2222:Valerie Robillard and Els Jongeneel (eds.): 1851: 1144:, above all for his famous evocation of the 734:" uses an ekphrastic frame, descriptions of 2022:Ekphrasis: The Illusion of the Natural Sign 1714:22:3 (Herbst 2001): 551–605. ISSN 0333-5372 1596:Disputatio. Philosophical Research Bulletin 1365:Aphrodite with the shield of Ares (742–745) 1307:A vineyard that is being harvested (561–72) 998:Triangles of Light: The Edward Hopper Poems 415:talks about ekphrasis to Phaedrus, saying: 3173: 3159: 3077:. W. W. Norton and Company. pp. 1–23. 2575:Munsterberg, Marjorie, Writing About Art: 2443: 1552:The gods of the sea and the Nymphs (10–19) 3128:Self-Portrait in a Convex Mirror, Ashbery 2737: 2358:. Berlin, New York: W. de Gruyter, 1996. 1499:Greeks running from Trojan soldiers (468) 1460:Tartarus with Cato and Catiline (666–670) 1082: 897:, which contains only ekphrastic poetry; 518:and many of his other works. In England, 346: 312:Plato's forms, the beginning of ekphrasis 175:Learn how and when to remove this message 117:Learn how and when to remove this message 2999: 2928: 2335:The Catholic University of America Press 1759:. Hillsdale, NY: Pendragon Press, 2008. 1691:Musical Ekphrasis in Rilke's Marienleben 1651:Gottfried Boehm and Helmut Pfotenhauer: 1511:Achilles selling Hektor's body (483–487) 1448:Mettius pulled apart by horses (640–645) 1265: 864:made extensive use of ekphrasis, as did 780: 400: 193: 2873: 2813: 2767: 2496:, a medieval itinerary of the Holy Land 1301:A field that is being ploughed (541–49) 1120:in his long pieces on the works in the 821:, for instance the description of what 665:The Body of the Dead Christ in the Tomb 14: 3534: 3072: 2848: 2386:. Berlin, New York: De Gruyter, 2003. 1580: 1454:Manlius guarding the capitol (652–654) 1445:The Rape of the Sabine Women (635–639) 767:. The art collection of the tyrant in 362: 3180: 3154: 3037: 2952: 2950: 2948: 2924: 2922: 2733: 2731: 2708: 1256: 1162:, that were produced in 16th century 1158:, crowded with complicated scenes in 1532: 1413:creating the thunderbolts for Zeus. 1371:Pelops winning Hippodameia (752–758) 988:, 1991), a collection in Catalan by 870:Poetical Sketches of Modern Pictures 844:Ekphrastic poetry flourished in the 776: 545:, French poet, painter and novelist 128: 55:adding citations to reliable sources 26: 2981: 2956: 2752: 2139:Narrating the Visual in Shakespeare 2044:Pennsylvania State University Press 1840:. (Jefferson, NC: McFarland, 2010) 1641:. Liverpool: Francis Cairns, 1986. 1416: 1270: 1101:, and compared to the treasures of 24: 3123:Hephaestus Starts Achilles' Shield 2945: 2919: 2908: 2728: 2516:, Chambers Harrap, Edinburgh 1993 2083:»: on the Problem of Christian Art 1965:, 3 Bände. Köln: Böhlau, 1981–87. 1838:Poets on Paintings: A Bibliography 1598:8:10 (December 2019): 0-00 (18 p.) 1451:Invasion of Lars Parsona (646–651) 1342: 958:, thought until recently to be by 25: 3563: 3094: 3000:Harrison, S. J. (November 1997). 1774:Ekphrasis in the Age of Cervantes 1374:Apollo punishing Tityos (759–762) 968:Landscape with the Fall of Icarus 955:Landscape with the Fall of Icarus 1739:Sens et signification en musique 1562: 732:24 Views of Mt. Fuji, by Hokusai 679:The Irish aesthete and novelist 428: 133: 31: 3081: 3066: 3031: 2993: 2975: 2902: 2867: 2842: 2807: 2746: 2702: 2676: 2661: 2295:15 (January–March 1999): 63–75. 2264:University Press of New England 1979:. Frankfurt: Peter Lang, 1986. 1879:Reading Pictures, Viewing Texts 42:needs additional citations for 2645: 2631: 2606: 2582: 2553: 2539: 2526: 2507: 2026:Johns Hopkins University Press 2007:. Paderborn: Schöningh, 1973. 1472:Antony and Cleopatra (685–695) 1469:Augustus and Agrippa (678–684) 1466:The Battle of Actium (675–677) 1323: 1010:Edward Hopper § Influence 825:sees engraved on the doors of 189:Describing visual art in words 13: 1: 2500: 2372:. Wooddbridge: Tamesis, 2004 1457:Gauls invading Rome (655–665) 1438:a clear catalogue of events: 1421: 1377:Phrixus and the Ram (763–765) 903:James Abbott McNeill Whistler 3006:The Journal of Roman Studies 2738:Lattimore, Richmond (1967). 2596:. Palgrave Macmillan, 2001. 2471:. Eris Press: London, 1995. 2278:Advances in Visual Semiotics 1951:. Tübingen: Niemeyer, 2001. 1275: 705:begins with an evocation of 702:A Dance to the Music of Time 7: 2482: 2164:University of Chicago Press 1799:University of Toronto Press 1492:related to the Trojan War: 1482:virtus, clementia, iustitia 1198:Three Places in New England 1169: 506:The Painter of his Dishonor 10: 3568: 3106:Essay on musical ekphrasis 2324:University of Oregon Press 1856:. Berlin, G. Reimer, 1917. 1655:. München: W. Fink, 1995. 1239:", with lyrics written by 1223:is a musical evocation of 1207:Robert Gould Shaw Memorial 981:Soleil dans une pièce vide 899:Algernon Charles Swinburne 742:the South African-Italian 686:The Picture of Dorian Gray 537:Instances of ekphrasis in 500:as one of his characters. 306: 247:. The word comes from the 3348: 3188: 3111:23 September 2009 at the 3018:10.1017/S0075435800058081 2912:The Best of the Argonauts 2852:The Best of the Argonauts 2786:10.25162/hermes-2006-0003 2768:Bulloch, Anthony (2006). 2579:(retrieved 27 April 2015) 2534:Glossary Terms: Ekphrasis 2432:Amsterdam: Rodopi, 1997, 2417:Amsterdam: Rodopi, 1999, 2125:Bucknell University Press 1778:Bucknell University Press 1724:. Waldkirch: Gorz, 2004. 1229:painting of the same name 1177:Pictures at an Exhibition 960:Pieter Brueghel the Elder 756:The Kingdom of this World 691:The Portrait of Mr. W. H. 597:, Titian, and others. In 3145:The Solitude of the Soul 3073:Martin, Charles (2010). 2984:"Reading Aeneas' Shield" 2536:(accessed 27 April 2015) 1883:Indiana University Press 1625:Harvard University Press 1607:Rowman & Littlefield 1188:by the Russian composer 866:Letitia Elizabeth Landon 848:era and again among the 803:(Book 18) describes the 423: 2957:Ahl, Frederick (2007). 2653:Trois fenêtres, la nuit 2532:The Poetry Foundation, 2514:The Chambers Dictionary 2208:Christine Ratkowitsch: 2176:Margaret Helen Persin: 2042:. University Park, PA: 1601:Andrew Sprague Becker: 1209:in Boston, sculpted by 1205:is an ekphrasis of the 964:William Carlos Williams 932:Archaic Torso of Apollo 763:, culminating with the 615:Bartholomew the Apostle 553:, and Russian novelist 549:, Norwegian playwright 539:19th century literature 274:in which one medium of 2849:Clauss, James (1993). 2715:A Charles Ives Website 2320:Comparative Literature 2289:Pictures from Brueghel 2190:Michael C. J. Putnam: 1993:. Köln: Böhlau, 1988. 1991:Das Architekturgedicht 1852: 1211:Augustus Saint-Gaudens 1195:The first movement of 1083:In, or as, art history 937:The Shield of Achilles 874:Dante Gabriel Rossetti 790: 720:In Search of Lost Time 435:Philostratus of Lemnos 347:From form to ekphrasis 220: 155:by rewriting it in an 3052:10.1353/are.2021.0000 2753:Rhodios, Apollonios. 2655:" ("Night windows"), 2196:Yale University Press 2119:Hugo Méndez-Ramírez: 1812:Frederick A. de Armas 1791:Frederick A. de Armas 1770:Frederick A. de Armas 1693:. Amsterdam/Atlanta: 1575:higher order thinking 1313:A sheep farm (587–89) 1266:In ancient literature 1243:, is an ekphrasis on 784: 726:In the 20th century, 652:The Russian novelist 643:. Ibsen's last work, 627:The Lady from the Sea 611:Frederick A. de Armas 401:Socrates and Phaedrus 197: 2959:The Aeneid of Virgil 2740:The Odyssey of Homer 2081:The Grand Inquisitor 2077:Alexander Medvedev: 1859:Barbara K. Fischer: 1755:Siglind Bruhn, ed.: 1241:Richard Palmer-James 986:Sun in an Empty Room 970:". The paintings of 950:Musée des Beaux Arts 919:", which although a 868:, especially in her 854:Ode on a Grecian Urn 773:is another example. 502:Calderón de la Barca 480:The Renaissance and 206:, was the mother of 51:improve this article 3506:Rhetorical question 2401:Imaginary Ekphrasis 2228:VU University Press 2088:Michaela J. Marek: 1581:Literature examples 1107:Staffordshire Hoard 883:Virgin of the Rocks 744:Patricia Schonstein 646:When We Dead Awaken 575:Benito Pérez Galdós 543:Benito Pérez Galdós 531:The Rape of Lucrece 510:Miguel de Cervantes 363:Plato and Aristotle 3552:Works based on art 3542:Visual arts theory 3101:Discussion of Form 2709:Mortensen, Scott. 2688:unframed.lacma.org 2494:Phocas's Ecphrasis 2143:Ashgate Publishing 2141:. Burlington, VT: 1933:Gayana Jurkevich: 1877:Claude Gandelman: 1836:Robert D. Denham: 1284:shield of Achilles 1257:Notional ekphrasis 1217:'s symphonic poem 1111:Asterius of Amasea 1055:, the Hercules by 940:(1952), a poem by 928:Rainer Maria Rilke 921:dramatic monologue 841:picked out on it. 805:Shield of Achilles 791: 699:'s novel sequence 654:Fyodor Dostoyevsky 603:Théodore Géricault 577:. For example, in 555:Fyodor Dostoyevsky 454:, his textbook of 237:visual work of art 221: 157:encyclopedic style 144:is written like a 3547:Figures of speech 3529: 3528: 3300:Hysteron proteron 3182:Figures of speech 2968:978-0-19-923195-9 2602:978-0-333-80109-3 2392:978-3-11-017938-5 2368:Steve Wakefield, 2333:(Washington, DC: 2218:978-3-7001-3480-0 2156:W. J. T. Mitchell 2151:978-0-7546-5775-0 2123:. Lewisburg, PA: 2115:978-0-520-06971-8 1905:James Heffernan: 1873:978-0-415-97534-6 1846:978-0-7864-4725-1 1807:978-1-4426-1031-6 1765:978-1-57647-140-1 1751:978-2-7056-6682-8 1695:Rodopi Publishers 1672:. Hillsdale, NY: 1534:The Metamorphoses 1475:Triumph (696–719) 1190:Modest Mussorgsky 878:Leonardo da Vinci 777:Ekphrastic poetry 641:Lady from the Sea 547:Théophile Gautier 272:rhetorical device 185: 184: 177: 127: 126: 119: 101: 16:(Redirected from 3559: 3175: 3168: 3161: 3152: 3151: 3088: 3085: 3079: 3078: 3070: 3064: 3063: 3035: 3029: 3028: 3026: 3024: 2997: 2991: 2990: 2988: 2979: 2973: 2972: 2954: 2943: 2942: 2926: 2917: 2916: 2906: 2900: 2899: 2871: 2865: 2864: 2862: 2860: 2846: 2840: 2839: 2811: 2805: 2804: 2802: 2800: 2765: 2759: 2758: 2757:. lines 720–763. 2750: 2744: 2743: 2735: 2726: 2725: 2723: 2721: 2706: 2700: 2699: 2697: 2695: 2680: 2674: 2665: 2659: 2649: 2643: 2642: 2635: 2629: 2628: 2626: 2624: 2618:Rossetti Archive 2610: 2604: 2588:Grant F. 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Stark, 2322:7. Eugene, OR: 2262:. Hanover, NH: 2103:J. D. McClatchy 2003:Gisbert Kranz: 1989:Gisbert Kranz: 1975:Gisbert Kranz: 1961:Gisbert Kranz: 1881:. Bloomington: 1850:Hermann Diels: 1674:Pendragon Press 1583: 1570: 1565: 1537: 1426: 1419: 1352:The Argonautika 1347: 1344:The Argonautika 1328: 1280: 1273: 1268: 1259: 1250:The Night Watch 1237:The Night Watch 1172: 1133:formal analysis 1099:Anglo-Saxon art 1085: 1004:, 1995, editor 917:My Last Duchess 913:Robert Browning 893:'s 1892 volume 779: 561:Herman Melville 490:Orlando Furioso 431: 426: 403: 367:For Plato (and 365: 349: 314: 309: 296:artistic medium 190: 181: 170: 164: 161: 153:help improve it 150: 138: 134: 123: 112: 106: 103: 60: 58: 48: 36: 23: 22: 15: 12: 11: 5: 3565: 3555: 3554: 3549: 3544: 3527: 3526: 3524: 3523: 3518: 3513: 3508: 3503: 3502: 3501: 3491: 3486: 3481: 3476: 3471: 3466: 3461: 3456: 3455: 3454: 3449: 3439: 3434: 3433: 3432: 3422: 3417: 3416: 3415: 3405: 3400: 3395: 3390: 3385: 3380: 3375: 3370: 3365: 3360: 3354: 3352: 3346: 3345: 3343: 3342: 3337: 3332: 3327: 3322: 3317: 3312: 3307: 3302: 3297: 3292: 3287: 3282: 3277: 3272: 3267: 3262: 3257: 3252: 3251: 3250: 3240: 3235: 3230: 3225: 3220: 3215: 3210: 3205: 3200: 3194: 3192: 3186: 3185: 3178: 3177: 3170: 3163: 3155: 3149: 3148: 3130: 3125: 3120: 3115: 3103: 3096: 3095:External links 3093: 3090: 3089: 3080: 3065: 3030: 2992: 2974: 2967: 2944: 2918: 2915:. p. 122. 2901: 2888:10.2307/284222 2866: 2841: 2828:10.2307/284222 2806: 2760: 2745: 2727: 2701: 2675: 2660: 2651:Sample poem: " 2644: 2630: 2605: 2581: 2565: 2552: 2538: 2525: 2505: 2504: 2502: 2499: 2498: 2497: 2491: 2484: 2481: 2480: 2479: 2477:978-1912475278 2465:Gabriele Tinti 2462: 2441: 2426: 2411: 2399:Robert Wynne: 2397: 2394: 2380: 2378:978-1855661073 2366: 2354:Peter Wagner: 2352: 2350:978-1984539908 2338: 2327: 2313: 2299: 2296: 2285: 2274: 2256: 2240:Maria Rubins: 2238: 2220: 2206: 2188: 2174: 2153: 2137:Richard Meek: 2135: 2117: 2100: 2086: 2075: 2067:, Lund 1982). 2057: 2054: 2036: 2018:Murray Krieger 2015: 2001: 1987: 1973: 1959: 1947:Mario Klarer: 1945: 1931: 1917: 1903: 1893: 1875: 1857: 1848: 1834: 1832:978-8431331641 1816:El amigo manso 1809: 1788: 1767: 1753: 1732: 1715: 1705: 1684: 1663: 1649: 1647:978-0905205304 1637:Peter A. 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