187:"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
678:(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 "
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638:, 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.
651:. 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,
199:, 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
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408:"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".
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1397:, 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
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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
661:. 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
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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.
1113:, and extended and highly pointed accounts of the major exhibitions of new art became a popular seasonal feature in the journalism of most Western countries. Since few if any of the works could be illustrated, description and evocation was necessary, and the criticality of descriptions of works disliked became a part of the style.
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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.
665:, 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.
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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 629â719. This shield was given to
1102:(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.
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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 â with all its shortcomings â 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
191:. 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
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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".
1518:. 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.
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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
865:'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
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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
1139:, 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.
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Cecilia LindhĂ©, 'Bildseendet föds i fingertopparna'. Om en ekfras för den digitala tidsĂ„lder, Ekfrase. Nordisk tidskrift för visuell kultur, 2010:1, p. 4â16. 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
1378:. 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.
1477:, 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.
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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.
1534:; 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:
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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'Ă©kphrasis come sussidio all'iconografia musicale: Funzione metanarrative delle immagini nel romanzo modern e contemporaneo".
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Two cities â 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 (509â40)
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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
849:â 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.
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220:, 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
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1842:Ăber die von Prokop beschriebene Kunstuhr von Gaza, mit einem Anhang enthaltend Text und Ăbersetzung der Ekphrasis horologiou de Prokopius von Gaza
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of Pallas (Aeneid X.495-505). The baldric is decorated with the murder of the sons of Aegyptus by their cousins, the DanaĂŻds, 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 (573â86)
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concludes each chapter with an art curator's description of a naĂŻve work of art as a means of introducing additional narrative voices.
447:, and later classical literary and rhetorical textbooks, and with other classical literary techniques. It was keenly revived in the
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Milner, Joseph O'Beirne, and Lucy Floyd Morcock Milner. Bridging English. 2nd ed. Upper Saddle River: Prentice, 1999. pp. 162â163.
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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 frĂŒher Neuzeit
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skills such as distinguishing different perspectives, interpreting, inferring, sequencing, compare and contrast and evaluating.
778:. It was completed by Angelo Monticelli c. 1820. This shield represents the art of ekphrastic poetry Homer used in his writings.
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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 609â614 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 ReprÀsentationstheorie 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
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985:, 2006, English translation 2010 by Lawrence Venuti), an English collection by James Hoggard
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The sacking of the tents of Rhesus and the Thracians, and their deaths by Diomedes (468â472)
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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
570:(1889), there are many allusions and descriptions of Italian art, including references to
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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 RĂ€ume in der Literatur des Mittelalters
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Priam begging for the return of his son, with the Trojan commanders nearby (483â488)
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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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2673:"Giving Life to Hercules: Q&A with Gabriele Tinti and Joe Mantegna - Unframed"
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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 GaldĂłs. 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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727:'s famous series of woodcuts, as a structural device for his story. In her novel
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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 (22â23)
501:, who spent his youth in Italy, used many Renaissance frescoes and paintings in
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1699:: "A Concert of Paintings: 'Musical Ekphrasis' in the Twentieth Century," in
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The women of Troy in lamentation, praying to the gods to help them (479â482)
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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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523:. Ekphrasis seems to have been less common in France during these periods.
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2052:. Lewiston, NY: E. Mellen Press, 1992 (originally published in Swedish as
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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 (473â478)
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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 (8â9)
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describes a picture gallery created by Merlin. In Spain, the playwright
232:, it might refer more broadly to a description of any thing, person, or
3504:
3408:
3381:
3313:
3303:
3283:
3258:
3206:
2991:"The Survival and Supremacy of Rome: The Unity of the Shield of Aeneas"
2201:. Wien: Verlag der Ăsterreichischen Akademie der Wissenschaften, 2006.
1091:
1064:
1016:
1008:
has composed a series of poems for ancient works of art, including the
951:, and now believed to be "after" him, is also described in the poem by
846:
797:
602:
has pointed out, there are numerous allusive ekphrasis to paintings of
571:
233:
2884:
2824:
1850:
Museum Mediations: Reframing Ekphrasis in Contemporary American Poetry
1213:
1120:
began to become an academic subject in the 19th century, ekphrasis as
3435:
3413:
3396:
3278:
3268:
3263:
3253:
3221:
3216:
2419:
Interart Poetics. Essays on the Interrelations of the Arts and Media,
2331:
Rumi in Manhattan: An Ekphrastic Collection of Poetry and Photography
1853:
1515:
1394:
1233:
1152:
1135:
1053:
647:
554:
513:
357:
321:
201:
3139:
2269:. Ed. Thomas A. Sebeok and Jean Umiker-Sebeok. New York and Berlin:
21:
3472:
3462:
3457:
3452:
3425:
3401:
3366:
3351:
3346:
3318:
3293:
3226:
2876:
2816:
2050:
Text as Picture: Studies in the Literary Transformation of Pictures
1924:
In pursuit of the natural sign: AzorĂn and the poetics of Ekphrasis
1803:: "Huellas de Cervantes en Galdós: La écfrasis de San Bartolomé en
1387:
1320:
1173:
in ten movements (plus a recurring, varied Promenade) composed for
815:
579:
401:
324:
or image in the form of which beds ought to be made; in short, the
3107:
Maier Museum of Art at Randolph College Ekphrastic Poetry Web Page
2758:
2750:
594:
to point to the shipwreck of ideals. In this novel, as well as in
3447:
3440:
1511:
1082:
827:
724:
699:
620:
583:
474:
470:
382:
a full picture, characterizing the whole bed is at a third remove
365:
325:
289:
268:
267:
tries to relate to another medium by defining and describing its
2345:
Icons, Texts, Iconotexts: Essays on Ekphrasis and Intermediality
1966:
Meisterwerke in Bildgedichten: Rezeption von Kunst in der Poesie
1357:
The battle between Teleboans and the Sons of Electryon (746â751)
878:
Other examples of the genre from the nineteenth century include
3499:
3323:
2477:
2307:: "The 'Ode on a Grecian Urn', or Content vs. Metagrammar," in
1896:
Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery
1610:
Art Inscribed: Essays on Ekphrasis in Spanish Golden Age Poetry
1418:
1338:
The Cloak of Jason is another example of ekphrastic poetry. In
1277:
1148:
1045:
934:
811:
806:
801:
619:, the first act begins with the description of a painting of a
486:
188:
1659:
Musical Ekphrasis: Composers Responding to Poetry and Painting
1485:
Depictions of Agamemnon and Menelaus, Priam and Achilles (459)
422:
The fullest example of ekphrasis in antiquity can be found in
3430:
1711:
Das tönende Museum: Musik interpretiert Werke bildender Kunst
1293:
The home of a King where the harvest is being reaped (550â60)
1174:
788:
783:
782:
Ekphrastic poetry may be encountered as early as the days of
562:
Peter Bly has described the many uses of art in the works of
459:
345:
312:
2731:. New York: Harper Perennial Modern Classics. lines 609â614.
2583:
Felicia Hemans. Reimagining Poetry in the Nineteenth Century
385:
ekphrasis of a bed in another art form is at a fourth remove
300:
2700:"Orchestral Set No. 1: Three Places in New England â Notes"
2320:
Rhetoric, Science, and Magic in Seventeenth-Century England
2110:
Neruda's Ekphrastic Experience: Mural Art and Canto general
1557:
Educational value of using ekphrasis in teaching literature
1510:
Another significant ekphrasis in the Aeneid appears on the
135:
personal reflection, personal essay, or argumentative essay
2657:
http://blogs.getty.edu/iris/poem-for-a-victorious-athlete/
2149:
Picture Theory: Essays on Verbal and Visual Representation
1815:. Ed. Carlos Mata InduraĂn. Pamplona: Eunsa, 2013: 77-92.
1393:
While Jason only wears the cloak while going to meet with
1348:
The forging of Zeus' thunderbolts by the Cyclops (730-734)
3482:
2950:. Great Britain: Oxford World's Classics. lines 372â406.
2435:
Music in Art: International Journal for Music Iconography
1910:
The Gazer's Spirit: Poems Speaking to Silent Works of Art
1431:
The She Wolf and the suckling Romulus and Remus (629â634)
748:(1949), a character views a collection of statues at the
264:
248:, 'out' and 'speak' respectively, and the verb áŒÎșÏÏΏζΔÎčÎœ
224:. It is a vivid, often dramatic, verbal description of a
2579:
The Fragile Image: Felicia Hemans and Romantic Ekphrasis
2265:
Grant F. Scott: "Ekphrasis and the Picture Gallery", in
2249:
The Sculpted Word: Keats, Ekphrasis, and the Visual Arts
1784:
Quixotic Frescoes: Cervantes and Italian Renaissance Art
997:), together with numerous individual poems; see more at
989:(Wings Press, 2009), and a collection by various poets (
742:
as Steve Wakefield attests. In one of his early novels,
2074:
In: The Solovyov Research, 2011, No. 3, (31). P. 79â90.
1351:
The building of Thebes by the sons of Antiope (735â741)
1105:
Journalistic art criticism was effectively invented by
360:), it is not so much the form of each bed that defines
2068:
Tiziano's «Denarius of Caesar» and F.M. Dostoevsky's «
1813:
Recreaciones quijotescas y cervantinas en la narrativa
1579:" ("Ekphrasis" and "synphronism" on Ortega's route to
1344:, Jason's cloak has seven events embroidered into it:
2865:
Transactions of the American Philological Association
2805:
Transactions of the American Philological Association
2359:
Carpentier's Baroque Fiction: Returning Medusa's Gaze
2294:. University Park: Pennsylvania State U Press, 1995.
1726:: "Vers une méthodologie de l'ekphrasis musical," in
1308:
The mighty Ocean as it encircles the shield (607â609)
1098:. The ekphrasic writings of the lawyer turned bishop
344:
Artists began to use their own literary and artistic
252:, 'to proclaim or call an inanimate object by name'.
2603:"For "Our Lady of the Rocks", by Leonardo da Vinci"
2029:
The Viewer as Poet: The Renaissance Response to Art
1734:and DaniĂšle Piston. Paris: Hermann, 2007, 155â176.
1592:
The Shield of Achilles and the Poetics of Ekphrasis
941:" describes a particular real and famous painting,
46:. Unsourced material may be challenged and removed.
2863:Shapiro, H. A. (1 January 1980). "Jason's Cloak".
2803:Shapiro, H. A. (1 January 1980). "Jason's Cloak".
2404:Text and Visuality. Word and Image Interactions 3,
2392:. Columbus, OH: Pudding House Publications, 2005.
2169:. Lewisburg, PA: Bucknell University Press, 1997.
2098:. Berkeley: University of California Press, 1988.
1926:. Lewisburg, PA: Bucknell University Press, 1999.
1506:Penthesilea the Amazon, and her fighters (489â493)
1305:A scene with young men and women dancing (590â606)
991:The Poetry of Solitude: A Tribute to Edward Hopper
2844:. The University of California Press. p. 120
2560:
2558:
1891:. Chicago: The University of Chicago Press, 1958.
1284:The Earth, Sea, Sky, Moon and the Cosmos (484â89)
511:briefly describes a group of erotic paintings in
493:also incorporated works of art in dramas such as
3522:
2918:Williams, R. D. (1981). "The Shield of Aeneas".
2628:"Rainer Maria Rilke, Torso of an Archaic Apollo"
2081:. Worms: Werner'sche Verlagsgesellschaft, 1985.
1952:Das Bildgedicht: Theorie, Lexikon, Bibliographie
1452:The Sea around the width of the shield (671â674)
841:poets. A major poem of the English Romantics â "
590:(1882), the narrator describes two paintings by
376:a bed as a physical entity is a mere form of bed
368:stages at which beds may be viewed that defines
259:Ekphrasis has been considered generally to be a
1528:There are several examples of ekphrasis in the
897:Symphony in White, No. 2: The Little White Girl
890:'s poem "Before the Mirror", which ekphrasizes
2555:
2181:Virgil's Epic Designs: Ekphrasis in the Aeneid
1912:. Chicago: University of Chicago Press, 1995.
1898:. Chicago: University of Chicago Press, 1993.
1086:are eventually always mentioned by writers on
3155:
2292:Literary Realism and the Ekphrastic Tradition
1544:Scenes of men, beasts, and local gods (20â21)
645:employed ekphrasis most notably in his novel
2211:Valerie Robillard and Els Jongeneel (eds.):
1840:
1133:, above all for his famous evocation of the
723:" uses an ekphrastic frame, descriptions of
2011:Ekphrasis: The Illusion of the Natural Sign
1703:22:3 (Herbst 2001): 551â605. ISSN 0333-5372
1585:Disputatio. Philosophical Research Bulletin
1354:Aphrodite with the shield of Ares (742â745)
1296:A vineyard that is being harvested (561â72)
987:Triangles of Light: The Edward Hopper Poems
404:talks about ekphrasis to Phaedrus, saying:
3162:
3148:
3066:. W. W. Norton and Company. pp. 1â23.
2564:Munsterberg, Marjorie, Writing About Art:
2432:
1541:The gods of the sea and the Nymphs (10â19)
3117:Self-Portrait in a Convex Mirror, Ashbery
2726:
2347:. Berlin, New York: W. de Gruyter, 1996.
1488:Greeks running from Trojan soldiers (468)
1449:Tartarus with Cato and Catiline (666â670)
1071:
886:, which contains only ekphrastic poetry;
507:and many of his other works. In England,
335:
301:Plato's forms, the beginning of ekphrasis
164:Learn how and when to remove this message
106:Learn how and when to remove this message
2988:
2917:
2324:The Catholic University of America Press
1748:. Hillsdale, NY: Pendragon Press, 2008.
1680:Musical Ekphrasis in Rilke's Marienleben
1640:Gottfried Boehm and Helmut Pfotenhauer:
1500:Achilles selling Hektor's body (483â487)
1437:Mettius pulled apart by horses (640â645)
1254:
853:made extensive use of ekphrasis, as did
769:
389:
182:
2862:
2802:
2756:
2485:, a medieval itinerary of the Holy Land
1290:A field that is being ploughed (541â49)
1109:in his long pieces on the works in the
810:, for instance the description of what
654:The Body of the Dead Christ in the Tomb
3523:
3061:
2837:
2375:. Berlin, New York: De Gruyter, 2003.
1569:
1443:Manlius guarding the capitol (652â654)
1434:The Rape of the Sabine Women (635â639)
756:. The art collection of the tyrant in
351:
3169:
3143:
3026:
2941:
2939:
2937:
2913:
2911:
2722:
2720:
2697:
1245:
1151:, that were produced in 16th century
1147:, crowded with complicated scenes in
1521:
1402:creating the thunderbolts for Zeus.
1360:Pelops winning Hippodameia (752â758)
977:, 1991), a collection in Catalan by
859:Poetical Sketches of Modern Pictures
833:Ekphrastic poetry flourished in the
765:
534:, French poet, painter and novelist
117:
44:adding citations to reliable sources
15:
2970:
2945:
2741:
2128:Narrating the Visual in Shakespeare
2033:Pennsylvania State University Press
1829:. (Jefferson, NC: McFarland, 2010)
1630:. Liverpool: Francis Cairns, 1986.
1405:
1259:
1090:, and compared to the treasures of
13:
3112:Hephaestus Starts Achilles' Shield
2934:
2908:
2897:
2717:
2505:, Chambers Harrap, Edinburgh 1993
2072:»: on the Problem of Christian Art
1954:, 3 BĂ€nde. Köln: Böhlau, 1981â87.
1827:Poets on Paintings: A Bibliography
1587:8:10 (December 2019): 0-00 (18 p.)
1440:Invasion of Lars Parsona (646â651)
1331:
947:, thought until recently to be by
14:
3552:
3083:
2989:Harrison, S. J. (November 1997).
1763:Ekphrasis in the Age of Cervantes
1363:Apollo punishing Tityos (759â762)
957:Landscape with the Fall of Icarus
944:Landscape with the Fall of Icarus
1728:Sens et signification en musique
1551:
721:24 Views of Mt. Fuji, by Hokusai
668:The Irish aesthete and novelist
417:
122:
20:
3070:
3055:
3020:
2982:
2964:
2891:
2856:
2831:
2796:
2735:
2691:
2665:
2650:
2284:15 (JanuaryâMarch 1999): 63â75.
2253:University Press of New England
1968:. Frankfurt: Peter Lang, 1986.
1868:Reading Pictures, Viewing Texts
31:needs additional citations for
2634:
2620:
2595:
2571:
2542:
2528:
2515:
2496:
2015:Johns Hopkins University Press
1996:. Paderborn: Schöningh, 1973.
1461:Antony and Cleopatra (685â695)
1458:Augustus and Agrippa (678â684)
1455:The Battle of Actium (675â677)
1312:
999:Edward Hopper § Influence
814:sees engraved on the doors of
178:Describing visual art in words
1:
2489:
2361:. Wooddbridge: Tamesis, 2004
1446:Gauls invading Rome (655â665)
1427:a clear catalogue of events:
1410:
1366:Phrixus and the Ram (763â765)
892:James Abbott McNeill Whistler
2995:The Journal of Roman Studies
2727:Lattimore, Richmond (1967).
2585:. Palgrave Macmillan, 2001.
2460:. Eris Press: London, 1995.
2267:Advances in Visual Semiotics
1940:. TĂŒbingen: Niemeyer, 2001.
1264:
694:begins with an evocation of
691:A Dance to the Music of Time
7:
2471:
2153:University of Chicago Press
1788:University of Toronto Press
1481:related to the Trojan War:
1471:virtus, clementia, iustitia
1187:Three Places in New England
1158:
495:The Painter of his Dishonor
10:
3557:
3095:Essay on musical ekphrasis
2313:University of Oregon Press
1845:. Berlin, G. Reimer, 1917.
1644:. MĂŒnchen: W. Fink, 1995.
1228:", with lyrics written by
1212:is a musical evocation of
1196:Robert Gould Shaw Memorial
970:Soleil dans une piĂšce vide
888:Algernon Charles Swinburne
731:the South African-Italian
675:The Picture of Dorian Gray
526:Instances of ekphrasis in
489:as one of his characters.
295:
236:. The word comes from the
3337:
3177:
3100:23 September 2009 at the
3007:10.1017/S0075435800058081
2901:The Best of the Argonauts
2841:The Best of the Argonauts
2775:10.25162/hermes-2006-0003
2757:Bulloch, Anthony (2006).
2568:(retrieved 27 April 2015)
2523:Glossary Terms: Ekphrasis
2421:Amsterdam: Rodopi, 1997,
2406:Amsterdam: Rodopi, 1999,
2114:Bucknell University Press
1767:Bucknell University Press
1713:. Waldkirch: Gorz, 2004.
1218:painting of the same name
1166:Pictures at an Exhibition
949:Pieter Brueghel the Elder
745:The Kingdom of this World
680:The Portrait of Mr. W. H.
586:, Titian, and others. In
3134:The Solitude of the Soul
3062:Martin, Charles (2010).
2973:"Reading Aeneas' Shield"
2525:(accessed 27 April 2015)
1872:Indiana University Press
1614:Harvard University Press
1596:Rowman & Littlefield
1177:by the Russian composer
855:Letitia Elizabeth Landon
837:era and again among the
792:(Book 18) describes the
412:
2946:Ahl, Frederick (2007).
2642:Trois fenĂȘtres, la nuit
2521:The Poetry Foundation,
2503:The Chambers Dictionary
2197:Christine Ratkowitsch:
2165:Margaret Helen Persin:
2031:. University Park, PA:
1590:Andrew Sprague Becker:
1198:in Boston, sculpted by
1194:is an ekphrasis of the
953:William Carlos Williams
921:Archaic Torso of Apollo
752:, culminating with the
604:Bartholomew the Apostle
542:, and Russian novelist
538:, Norwegian playwright
528:19th century literature
263:in which one medium of
2838:Clauss, James (1993).
2704:A Charles Ives Website
2309:Comparative Literature
2278:Pictures from Brueghel
2179:Michael C. J. Putnam:
1982:. Köln: Böhlau, 1988.
1980:Das Architekturgedicht
1841:
1200:Augustus Saint-Gaudens
1184:The first movement of
1072:In, or as, art history
926:The Shield of Achilles
863:Dante Gabriel Rossetti
779:
709:In Search of Lost Time
424:Philostratus of Lemnos
336:From form to ekphrasis
209:
144:by rewriting it in an
3041:10.1353/are.2021.0000
2742:Rhodios, Apollonios.
2644:" ("Night windows"),
2185:Yale University Press
2108:Hugo MĂ©ndez-RamĂrez:
1801:Frederick A. de Armas
1780:Frederick A. de Armas
1759:Frederick A. de Armas
1682:. Amsterdam/Atlanta:
1564:higher order thinking
1302:A sheep farm (587â89)
1255:In ancient literature
1232:, is an ekphrasis on
773:
715:In the 20th century,
641:The Russian novelist
632:. Ibsen's last work,
616:The Lady from the Sea
600:Frederick A. de Armas
390:Socrates and Phaedrus
186:
2948:The Aeneid of Virgil
2729:The Odyssey of Homer
2070:The Grand Inquisitor
2066:Alexander Medvedev:
1848:Barbara K. Fischer:
1744:Siglind Bruhn, ed.:
1230:Richard Palmer-James
975:Sun in an Empty Room
959:". The paintings of
939:Musée des Beaux Arts
908:", which although a
857:, especially in her
843:Ode on a Grecian Urn
762:is another example.
491:CalderĂłn de la Barca
469:The Renaissance and
195:, was the mother of
40:improve this article
3495:Rhetorical question
2390:Imaginary Ekphrasis
2217:VU University Press
2077:Michaela J. Marek:
1570:Literature examples
1096:Staffordshire Hoard
872:Virgin of the Rocks
733:Patricia Schonstein
635:When We Dead Awaken
564:Benito PĂ©rez GaldĂłs
532:Benito PĂ©rez GaldĂłs
520:The Rape of Lucrece
499:Miguel de Cervantes
352:Plato and Aristotle
3541:Works based on art
3531:Visual arts theory
3090:Discussion of Form
2698:Mortensen, Scott.
2677:unframed.lacma.org
2483:Phocas's Ecphrasis
2132:Ashgate Publishing
2130:. Burlington, VT:
1922:Gayana Jurkevich:
1866:Claude Gandelman:
1825:Robert D. Denham:
1273:shield of Achilles
1246:Notional ekphrasis
1206:'s symphonic poem
1100:Asterius of Amasea
1044:, the Hercules by
929:(1952), a poem by
917:Rainer Maria Rilke
910:dramatic monologue
830:picked out on it.
794:Shield of Achilles
780:
688:'s novel sequence
643:Fyodor Dostoyevsky
592:Théodore Géricault
566:. For example, in
544:Fyodor Dostoyevsky
443:, his textbook of
226:visual work of art
210:
146:encyclopedic style
133:is written like a
3536:Figures of speech
3518:
3517:
3289:Hysteron proteron
3171:Figures of speech
2957:978-0-19-923195-9
2591:978-0-333-80109-3
2381:978-3-11-017938-5
2357:Steve Wakefield,
2322:(Washington, DC:
2207:978-3-7001-3480-0
2145:W. J. T. Mitchell
2140:978-0-7546-5775-0
2112:. Lewisburg, PA:
2104:978-0-520-06971-8
1894:James Heffernan:
1862:978-0-415-97534-6
1835:978-0-7864-4725-1
1796:978-1-4426-1031-6
1754:978-1-57647-140-1
1740:978-2-7056-6682-8
1684:Rodopi Publishers
1661:. Hillsdale, NY:
1523:The Metamorphoses
1464:Triumph (696â719)
1179:Modest Mussorgsky
867:Leonardo da Vinci
766:Ekphrastic poetry
630:Lady from the Sea
536:Théophile Gautier
261:rhetorical device
174:
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2746:. lines 720â763.
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2607:Rossetti Archive
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2577:Grant F. Scott.
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2500:
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2441:(1â2): 221â238.
2371:Haiko Wandhoff:
2329:Iman Tavassoly:
2326:, 2009), 181â90.
2315:, 1955, 203â225.
2282:Word & Image
2273:, 1995. 403â421.
2247:Grant F. Scott:
2054:Texten som tavla
1908:John Hollander:
1885:Jean H. Hagstrum
1844:
1608:Emilie Bergman:
1406:Roman literature
1260:Greek literature
1209:Isle of the Dead
1041:Farnese Hercules
1035:Victorious Youth
759:Reasons of State
740:Alejo Carpentier
588:Our Friend Manso
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3468:Personification
3333:
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3122:Ekphrastic poem
3102:Wayback Machine
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2971:Penwill, John.
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2898:Clauss, James.
2896:
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2801:
2797:
2787:
2785:
2759:"Jason's Cloak"
2755:
2751:
2744:The Argonautika
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2679:. 21 March 2016
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2318:Ryan J. Stark,
2311:7. Eugene, OR:
2251:. Hanover, NH:
2092:J. D. McClatchy
1992:Gisbert Kranz:
1978:Gisbert Kranz:
1964:Gisbert Kranz:
1950:Gisbert Kranz:
1870:. Bloomington:
1839:Hermann Diels:
1663:Pendragon Press
1572:
1559:
1554:
1526:
1415:
1408:
1341:The Argonautika
1336:
1333:The Argonautika
1317:
1269:
1262:
1257:
1248:
1239:The Night Watch
1226:The Night Watch
1161:
1122:formal analysis
1088:Anglo-Saxon art
1074:
993:, 1995, editor
906:My Last Duchess
902:Robert Browning
882:'s 1892 volume
768:
550:Herman Melville
479:Orlando Furioso
420:
415:
392:
356:For Plato (and
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285:artistic medium
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3084:External links
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2904:. p. 122.
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1006:Gabriele Tinti
965:Claude Esteban
884:Sight and Song
851:Felicia Hemans
839:pre-Raphaelite
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2271:W. de Gruyter
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2225:90-5383-595-4
2222:
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2215:. Amsterdam:
2214:
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2190:
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2183:. New Haven:
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2087:3-88462-035-5
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2038:
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2027:Norman Land:
2026:
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2020:
2016:
2013:. Baltimore:
2012:
2008:
2005:
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2002:3-506-74813-0
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1765:. Lewisburg:
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1732:MĂĄrta GrabĂłcz
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1724:Siglind Bruhn
1722:
1720:
1719:3-938095-00-8
1716:
1712:
1708:
1707:Siglind Bruhn
1705:
1702:
1701:Poetics Today
1698:
1697:Siglind Bruhn
1695:
1693:
1692:90-420-0800-8
1689:
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1676:Siglind Bruhn
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1619:
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1612:. Cambridge:
1611:
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1601:
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1552:Other aspects
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1531:Metamorphoses
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1029:Ludovisi Gaul
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1011:Boxer at Rest
1007:
1002:
1000:
996:
992:
988:
984:
983:Edward Hopper
980:
979:Ernest Farrés
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961:Edward Hopper
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880:Michael Field
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836:
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818:'s temple of
817:
813:
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751:
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734:
730:
726:
722:
718:
717:Roger Zelazny
713:
711:
710:
705:
704:Marcel Proust
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440:Progymnasmata
436:
431:
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418:In literature
407:
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286:
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253:
251:
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235:
231:
230:ancient times
227:
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205:described by
204:
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198:
197:Helen of Troy
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143:
137:
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131:This article
129:
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99:
96:February 2023
88:
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67:
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60:
57: â
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
3488:Antanaclasis
3392:Epanorthosis
3386:
3309:Polysyndeton
3202:Antimetabole
3187:Alliteration
3132:sculpture, "
3126:Jared Carter
3072:
3063:
3057:
3032:
3028:
3022:
3010:. Retrieved
2998:
2994:
2984:
2966:
2947:
2922:(27): 8â11.
2919:
2900:
2893:
2868:
2864:
2858:
2846:. Retrieved
2840:
2833:
2808:
2804:
2798:
2786:. Retrieved
2766:
2762:
2752:
2743:
2737:
2728:
2707:. Retrieved
2703:
2693:
2681:. Retrieved
2676:
2667:
2662:| 2015-09-08
2660:Getty Museum
2652:
2636:
2622:
2610:. Retrieved
2606:
2597:
2582:
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2438:
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2291:
2290:Mack Smith:
2281:
2277:
2266:
2248:
2233:. New York:
2230:
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2198:
2180:
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2148:
2127:
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2010:
1993:
1979:
1965:
1951:
1937:
1923:
1909:
1895:
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1852:. New York:
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1529:
1527:
1522:
1509:
1479:
1474:
1470:
1467:
1425:
1417:
1416:
1411:
1398:
1392:
1384:
1380:
1375:
1371:
1369:
1339:
1337:
1332:
1325:the Odyssey,
1324:
1318:
1313:
1270:
1265:
1249:
1237:
1236:'s painting
1222:King Crimson
1207:
1204:Rachmaninoff
1192:Charles Ives
1185:
1183:
1164:
1162:
1141:
1134:
1131:Walter Pater
1115:
1104:
1081:
1079:
1075:
1063:
1057:
1039:
1033:
1027:
1023:Arundel Head
1021:
1015:
1009:
1003:
990:
986:
982:
974:
968:
942:
924:
914:
895:
883:
877:
870:
858:
832:
805:
787:
781:
775:
757:
743:
737:
728:
714:
707:
696:the painting
689:
684:
673:
667:
659:Hans Holbein
652:
646:
640:
633:
629:
626:Edvard Munch
614:
608:
595:
587:
568:La incĂłgnita
567:
561:
553:
548:
540:Henrik Ibsen
525:
518:
512:
502:
494:
483:Lope de Vega
478:
468:
456:medieval art
453:
438:
427:
421:
395:
393:
369:
361:
355:
343:
339:
330:
328:of bedness.
306:
304:
279:
277:
258:
254:
249:
245:
241:
221:
217:
213:
211:
207:Walter Pater
200:
180:
175:
160:
151:
132:
102:
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
3377:Catachresis
3362:Antonomasia
3357:Antiphrasis
3299:Parallelism
3249:Epanalepsis
3212:Aposiopesis
3192:Anadiplosis
3130:Lorado Taft
2811:: 263â286.
2536:"Ecphrasis"
2305:Leo Spitzer
2151:. Chicago:
2048:Hans Lund:
1786:. Toronto:
1581:Don Quixote
1376:the Odyssey
1314:The Odyssey
1155:metalwork.
1145:silver-gilt
1127:John Ruskin
1118:art history
1111:Paris Salon
931:W. H. Auden
824:Catullus 64
796:, with how
670:Oscar Wilde
663:Switzerland
598:(1888), as
509:Shakespeare
504:Don Quixote
464:iconography
449:Renaissance
394:In Plato's
244:and ÏÏÎŹÏÎčÏ
55:"Ekphrasis"
3525:Categories
3505:Synecdoche
3409:Dysphemism
3382:Ecphonesis
3372:Apostrophe
3314:Spoonerism
3304:Polyptoton
3284:Hyperbaton
3259:Epistrophe
3244:Consonance
3207:Antithesis
2769:: 44â68 .
2709:19 October
2490:References
1577:El Quijote
1419:The Aeneid
1412:The Aeneid
1092:Sutton Hoo
1065:Doryphoros
1017:Discobolus
995:Gail Levin
847:John Keats
798:Hephaestus
682:" (1889).
572:Botticelli
435:Aphthonius
315:discusses
311:, Book X,
280:rhetorical
250:ekphrĂĄzein
234:experience
222:ekphrastic
66:newspapers
3510:Tautology
3436:Apophasis
3414:Euphemism
3397:Hyperbole
3387:Ekphrasis
3279:Hypallage
3269:Hendiadys
3264:Epizeuxis
3254:Epiphrase
3222:Asyndeton
3217:Assonance
3049:238940277
3001:: 70â76.
2920:Vergilius
2783:170174023
2566:Ekphrasis
2447:1522-7464
1854:Routledge
1730:, ed. by
1516:Aeschylus
1399:the Iliad
1395:Hypsipyle
1372:the Iliad
1266:The Iliad
1234:Rembrandt
1224:'s song "
1153:Mannerist
1136:Mona Lisa
1054:Parthenon
1052:from the
1004:The poet
648:The Idiot
555:Moby Dick
514:Cymbeline
358:Aristotle
322:archetype
218:ecphrasis
214:ekphrasis
212:The word
202:Mona Lisa
154:July 2023
3473:Pleonasm
3463:Oxymoron
3458:Metonymy
3453:Metaphor
3426:Innuendo
3402:Adynaton
3367:Aphorism
3352:Allusion
3347:Allegory
3319:Symploce
3294:Isocolon
3227:Chiasmus
3197:Anaphora
3098:Archived
3035:: 1â29.
3029:Arethusa
3012:20 April
2928:41591854
2848:16 April
2788:16 April
2550:Phaedrus
2472:See also
2333:, 2018.
2255:, 1994.
2237:, 2000.
2235:Palgrave
2219:, 1998.
2187:, 1998.
2155:, 1994.
2134:, 2009.
2116:, 1999.
2035:, 1994.
2017:, 1992.
1874:, 1991.
1856:, 2006.
1790:, 2006.
1769:, 2005.
1686:, 2000.
1665:, 2000.
1616:, 1979.
1598:, 1995.
1388:Atalanta
1321:Herakles
1159:In music
1094:and the
835:Romantic
816:Carthage
786:, whose
580:Masaccio
576:Mantegna
402:Socrates
397:Phaedrus
308:Republic
3448:Litotes
3441:Sarcasm
3419:Meiosis
3179:Schemes
3128:on the
2871:: 265.
2612:7 March
2548:Plato:
1512:baldric
1214:Böcklin
1083:Beowulf
923:", and
828:Ariadne
729:Skyline
725:Hokusai
700:Poussin
621:mermaid
584:Raphael
475:Ariosto
471:Baroque
429:Eikones
370:bedness
366:mimetic
364:as the
362:bedness
326:epitome
305:In the
296:History
290:synergy
269:essence
246:phrĂĄsis
189:Borgias
140:Please
80:scholar
3500:Simile
3339:Tropes
3329:Zeugma
3324:Tmesis
3232:Climax
3047:
2954:
2926:
2885:284222
2883:
2825:284222
2823:
2781:
2763:Hermes
2589:
2509:
2478:Blazon
2464:
2445:
2425:
2410:
2396:
2379:
2365:
2351:
2337:
2298:
2259:
2241:
2223:
2205:
2191:
2173:
2159:
2138:
2120:
2102:
2085:
2060:
2039:
2021:
2000:
1986:
1972:
1958:
1944:
1930:
1916:
1902:
1878:
1860:
1833:
1819:
1794:
1773:
1752:
1738:
1717:
1690:
1669:
1648:
1634:
1620:
1602:
1583:), in
1475:pietas
1473:, and
1278:Cosmos
1149:relief
1062:, the
1056:, the
1048:, the
1046:Scopas
1038:, the
1032:, the
1026:, the
1020:, the
1014:, the
935:Thetis
822:, and
812:Aeneas
807:Aeneid
802:Virgil
487:Titian
460:relics
82:
75:
68:
61:
53:
3431:Irony
3045:S2CID
2976:(PDF)
2924:JSTOR
2881:JSTOR
2821:JSTOR
2779:S2CID
2683:9 May
2646:notes
2458:Ruins
1175:piano
1171:suite
845:" by
789:Iliad
784:Homer
776:Iliad
611:Ibsen
445:style
413:Genre
346:genre
317:forms
313:Plato
238:Greek
216:, or
87:JSTOR
73:books
3237:Anti
3014:2016
2952:ISBN
2850:2016
2790:2016
2711:2013
2685:2019
2614:2017
2587:ISBN
2552:275d
2507:ISBN
2462:ISBN
2443:ISSN
2423:ISBN
2408:ISBN
2394:ISBN
2377:ISBN
2363:ISBN
2349:ISBN
2335:ISBN
2296:ISBN
2257:ISBN
2239:ISBN
2221:ISBN
2203:ISBN
2189:ISBN
2171:ISBN
2157:ISBN
2136:ISBN
2118:ISBN
2100:ISBN
2083:ISBN
2058:ISBN
2037:ISBN
2019:ISBN
1998:ISBN
1984:ISBN
1970:ISBN
1956:ISBN
1942:ISBN
1928:ISBN
1914:ISBN
1900:ISBN
1876:ISBN
1858:ISBN
1831:ISBN
1817:ISBN
1809:Miau
1792:ISBN
1771:ISBN
1750:ISBN
1736:ISBN
1715:ISBN
1688:ISBN
1667:ISBN
1646:ISBN
1632:ISBN
1618:ISBN
1600:ISBN
1374:and
1271:The
1169:, a
919:'s "
904:'s "
820:Juno
719:'s "
596:Miau
273:form
271:and
193:Leda
59:news
3483:Pun
3124:by
3037:doi
3003:doi
2873:doi
2869:110
2813:doi
2809:110
2771:doi
2767:134
2581:in
2280:".
1811:,"
1216:'s
1190:by
1116:As
894:'s
869:'s
804:'s
706:'s
698:by
672:'s
657:by
609:In
552:'s
477:'s
265:art
240:áŒÎș
42:by
3527::
3136:."
3043:.
3033:54
3031:.
2999:87
2997:.
2993:.
2936:^
2910:^
2879:.
2867:.
2819:.
2807:.
2777:.
2765:.
2761:.
2719:^
2702:.
2675:.
2605:.
2557:^
2456::
2439:44
2437:.
2147::
2094::
2009::
1887::
1807:y
1782::
1761::
1709::
1678::
1657::
1242:.
1220:.
1068:.
1001:.
973:,
875:.
861:.
712:.
606:.
582:,
578:,
574:,
546:.
497:.
466:.
451:.
437:'
426:'
400:,
372:.
292:.
242:ek
3163:e
3156:t
3149:v
3051:.
3039::
3016:.
3005::
2978:.
2960:.
2930:.
2887:.
2875::
2852:.
2827:.
2815::
2792:.
2773::
2713:.
2687:.
2630:.
2616:.
2538:.
2449:.
2429:.
2414:.
981:(
967:(
955:"
167:)
161:(
156:)
152:(
148:.
109:)
103:(
98:)
94:(
84:·
77:·
70:·
63:·
36:.
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