Ekphrasis - Knowledge (XXG)

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 " 184: 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 771: 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". 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 22: 1562:

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

124: 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 1077:

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. 1251:

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. 559:

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

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. 1327:

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

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 332:

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. 255:

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 340:

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. 2045:

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

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. 1181:

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: 896: 1370:

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

849:– 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. 2899: 2839: 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 2990: 2323: 956: 1842:Über die von Prokop beschriebene Kunstuhr von Gaza, mit einem Anhang enthaltend Text und Übersetzung der Ekphrasis horologiou de Prokopius von Gaza 1514:

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.

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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.

778:. It was completed by Angelo Monticelli c. 1820. This shield represents the art of ekphrastic poetry Homer used in his writings. 183: 3154: 3097: 2252: 1208: 428: 2014: 228:, either real or imagined. Thus, "an ekphrastic poem is a vivid description of a scene or, more commonly, a work of art." In 43: 938: 3371: 1328:

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 (XXG) 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

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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

1121: 1087: 905: 901: 575: 570:(1889), there are many allusions and descriptions of Italian art, including references to 549: 2079:

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 "

625: 610: 539: 482: 455: 206: 2673:"Giving Life to Hercules: Q&A with Gabriele Tinti and Joe Mantegna - Unframed" 2565: 2402:

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

727:'s famous series of woodcuts, as a structural device for his story. In her novel 3376: 3361: 3356: 3248: 3211: 3191: 3129: 2304: 2231:

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)

1340: 1144: 1126: 1117: 1110: 930: 834: 823: 669: 662: 508: 503: 501:, who spent his youth in Italy, used many Renaissance frescoes and paintings in 463: 448: 225: 21: 3111: 900:, hinted at only by the poem's subtitle, "Verses Written under a Picture"; and 3504: 3408: 3381: 3313: 3303: 3283: 3258: 3206: 3006: 2774: 1213: 1091: 1064: 1016: 846: 797: 571: 233: 2446: 1699:: "A Concert of Paintings: 'Musical Ekphrasis' in the Twentieth Century," in 3435: 3413: 3396: 3278: 3268: 3263: 3253: 3221: 3216: 1853: 1515: 1497:

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

523:. Ekphrasis seems to have been less common in France during these periods. 3040: 2052:. Lewiston, NY: E. Mellen Press, 1992 (originally published in Swedish as 530:

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

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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

1803:: "Huellas de Cervantes en Galdós: La écfrasis de San Bartolomé en 1173:

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)

878:

Other examples of the genre from the nineteenth century include

3143: 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

1338:

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

619:, the first act begins with the description of a painting of a 3482: 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

272: 264: 117: 15: 1711:

Das tönende Museum: Musik interpretiert Werke bildender Kunst

1293:

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

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

2731:. New York: Harper Perennial Modern Classics. lines 609–614. 2583:

Felicia Hemans. Reimagining Poetry in the Nineteenth Century

385:

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

2700:"Orchestral Set No. 1: Three Places in New England – 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 Induraín. 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)

2950:. Great Britain: Oxford World's Classics. lines 372–406. 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 (629–634)

748:(1949), a character views a collection of statues at the 248:, 'out' and 'speak' respectively, and the verb ἐκφράζειν 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. 79–90.

1351:

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

1105:

Journalistic art criticism was effectively invented by

360:), it is not so much the form of each bed that defines 141: 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 (607–609)

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'. 3337: 3177: 2603:"For "Our Lady of the Rocks", by Leonardo da Vinci" 2029:

The Viewer as Poet: The Renaissance Response to Art

1734:and Danièle Piston. Paris: Hermann, 2007, 155–176. 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 (489–493) 1305:A scene with young men and women dancing (590–606) 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 (484–89) 511:briefly describes a group of erotic paintings in 493:also incorporated works of art in dramas such as 300: 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 (671–674) 841:poets. A major poem of the English Romantics – " 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 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 (20–21) 645:employed ekphrasis most notably in his novel 8: 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): 551–605. ISSN 0333-5372 1585:Disputatio. Philosophical Research Bulletin 1354:Aphrodite with the shield of Ares (742–745) 1296:A vineyard that is being harvested (561–72) 987:Triangles of Light: The Edward Hopper Poems 404:talks about ekphrasis to Phaedrus, saying: 3162: 3148: 3140: 3066:. W. W. Norton and Company. pp. 1–23. 2564:Munsterberg, Marjorie, Writing About Art: 1541:The gods of the sea and the Nymphs (10–19) 3117:Self-Portrait in a Convex Mirror, Ashbery 2347:. Berlin, New York: W. de Gruyter, 1996. 1488:Greeks running from Trojan soldiers (468) 1449:Tartarus with Cato and Catiline (666–670) 886:, which contains only ekphrastic poetry; 507:and many of his other works. In England, 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 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 (483–487) 1437:Mettius pulled apart by horses (640–645) 853:made extensive use of ekphrasis, as did 182: 2495: 2485:, a medieval itinerary of the Holy Land 1290:A field that is being ploughed (541–49) 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 2375:. Berlin, New York: De Gruyter, 2003. 1443:Manlius guarding the capitol (652–654) 1434:The Rape of the Sabine Women (635–639) 756:. The art collection of the tyrant in 2941: 2939: 2937: 2913: 2911: 2722: 2720: 1151:, that were produced in 16th century 1147:, crowded with complicated scenes in 7: 1402:creating the thunderbolts for Zeus. 1360:Pelops winning Hippodameia (752–758) 977:, 1991), a collection in Catalan by 859:Poetical Sketches of Modern Pictures 833:Ekphrastic poetry flourished in the 534:, French poet, painter and novelist 44:adding citations to reliable sources 2128:Narrating the Visual in Shakespeare 2033:Pennsylvania State University Press 1829:. (Jefferson, NC: McFarland, 2010) 1630:. Liverpool: Francis Cairns, 1986. 1090:, and compared to the treasures of 3112:Hephaestus Starts Achilles' Shield 2505:, Chambers Harrap, Edinburgh 1993 2072:»: on the Problem of Christian Art 1954:, 3 Bände. Köln: Böhlau, 1981–87. 1827:Poets on Paintings: A Bibliography 1587:8:10 (December 2019): 0-00 (18 p.) 1440:Invasion of Lars Parsona (646–651) 947:, thought until recently to be by 14: 2989:Harrison, S. J. (November 1997). 1763:Ekphrasis in the Age of Cervantes 1363:Apollo punishing Tityos (759–762) 957:Landscape with the Fall of Icarus 944:Landscape with the Fall of Icarus 1728:Sens et signification en musique 721:24 Views of Mt. Fuji, by Hokusai 668:The Irish aesthete and novelist 122: 20: 2284:15 (January–March 1999): 63–75. 2253:University Press of New England 1968:. Frankfurt: Peter Lang, 1986. 1868:Reading Pictures, Viewing Texts 31:needs additional citations for 2015:Johns Hopkins University Press 1996:. Paderborn: Schöningh, 1973. 1461:Antony and Cleopatra (685–695) 1458:Augustus and Agrippa (678–684) 1455:The Battle of Actium (675–677) 999:Edward Hopper § Influence 814:sees engraved on the doors of 178:Describing visual art in words 1: 2361:. Wooddbridge: Tamesis, 2004 1446:Gauls invading Rome (655–665) 1427:a clear catalogue of events: 1366:Phrixus and the Ram (763–765) 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:. Tübingen: Niemeyer, 2001. 694:begins with an evocation of 691:A Dance to the Music of Time 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 495:The Painter of his Dishonor 3559: 3095:Essay on musical ekphrasis 2313:University of Oregon Press 1845:. Berlin, G. Reimer, 1917. 1644:. München: W. Fink, 1995. 1228:", with lyrics written by 1212:is a musical evocation of 1196:Robert Gould Shaw Memorial 970:Soleil dans une pièce 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. 236:. The word comes from the 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 2946:Ahl, Frederick (2007). 2642:Trois fenêtres, 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 Méndez-Ramírez: 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 (587–89) 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:Calderón 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 Pérez Galdós 532:Benito Pérez Galdós 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 (696–719) 1179:Modest Mussorgsky 867:Leonardo da Vinci 766:Ekphrastic poetry 630:Lady from the Sea 536:Théophile Gautier 261:rhetorical device 174: 173: 166: 116: 115: 108: 90: 3548: 3164: 3157: 3150: 3141: 3077: 3074: 3068: 3067: 3059: 3053: 3052: 3024: 3018: 3017: 3015: 3013: 2986: 2980: 2979: 2977: 2968: 2962: 2961: 2943: 2932: 2931: 2915: 2906: 2905: 2895: 2889: 2888: 2860: 2854: 2853: 2851: 2849: 2835: 2829: 2828: 2800: 2794: 2793: 2791: 2789: 2754: 2748: 2747: 2746:. lines 720–763. 2739: 2733: 2732: 2724: 2715: 2714: 2712: 2710: 2695: 2689: 2688: 2686: 2684: 2669: 2663: 2654: 2648: 2638: 2632: 2631: 2624: 2618: 2617: 2615: 2613: 2607:Rossetti Archive 2599: 2593: 2577:Grant F. Scott. 2575: 2569: 2562: 2553: 2546: 2540: 2539: 2532: 2526: 2519: 2513: 2500: 2450: 2441:(1–2): 221–238. 2371:Haiko Wandhoff: 2329:Iman Tavassoly: 2326:, 2009), 181–90. 2315:, 1955, 203–225. 2282:Word & Image 2273:, 1995. 403–421. 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 169: 162: 158: 155: 149: 126: 125: 118: 111: 104: 100: 97: 91: 89: 48: 24: 16: 3558: 3557: 3551: 3550: 3549: 3547: 3546: 3545: 3521: 3520: 3519: 3514: 3468:Personification 3333: 3173: 3168: 3122:Ekphrastic poem 3102:Wayback Machine 3086: 3081: 3080: 3075: 3071: 3061: 3060: 3056: 3026: 3025: 3021: 3011: 3009: 2988: 2987: 2983: 2975: 2971:Penwill, John. 2970: 2969: 2965: 2958: 2945: 2944: 2935: 2917: 2916: 2909: 2898:Clauss, James. 2897: 2896: 2892: 2862: 2861: 2857: 2847: 2845: 2837: 2836: 2832: 2802: 2801: 2797: 2787: 2785: 2759:"Jason's Cloak" 2756: 2755: 2751: 2744:The Argonautika 2741: 2740: 2736: 2726: 2725: 2718: 2708: 2706: 2697: 2696: 2692: 2682: 2680: 2679:. 21 March 2016 2671: 2670: 2666: 2655: 2651: 2639: 2635: 2626: 2625: 2621: 2611: 2609: 2601: 2600: 2596: 2576: 2572: 2563: 2556: 2547: 2543: 2534: 2533: 2529: 2520: 2516: 2501: 2497: 2492: 2474: 2432: 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 354: 338: 303: 298: 285:artistic medium 179: 170: 159: 153: 150: 142:help improve it 139: 127: 123: 112: 101: 95: 92: 49: 47: 37: 25: 12: 11: 5: 3556: 3555: 3552: 3544: 3543: 3538: 3533: 3523: 3522: 3516: 3515: 3513: 3512: 3507: 3502: 3497: 3492: 3491: 3490: 3480: 3475: 3470: 3465: 3460: 3455: 3450: 3445: 3444: 3443: 3438: 3428: 3423: 3422: 3421: 3411: 3406: 3405: 3404: 3394: 3389: 3384: 3379: 3374: 3369: 3364: 3359: 3354: 3349: 3343: 3341: 3335: 3334: 3332: 3331: 3326: 3321: 3316: 3311: 3306: 3301: 3296: 3291: 3286: 3281: 3276: 3271: 3266: 3261: 3256: 3251: 3246: 3241: 3240: 3239: 3229: 3224: 3219: 3214: 3209: 3204: 3199: 3194: 3189: 3183: 3181: 3175: 3174: 3169: 3167: 3166: 3159: 3152: 3144: 3138: 3137: 3119: 3114: 3109: 3104: 3092: 3085: 3084:External links 3082: 3079: 3078: 3069: 3054: 3019: 2981: 2963: 2956: 2933: 2907: 2904:. p. 122. 2890: 2877:10.2307/284222 2855: 2830: 2817:10.2307/284222 2795: 2749: 2734: 2716: 2690: 2664: 2649: 2640:Sample poem: " 2633: 2619: 2594: 2570: 2554: 2541: 2527: 2514: 2494: 2493: 2491: 2488: 2487: 2486: 2480: 2473: 2470: 2469: 2468: 2466:978-1912475278 2454:Gabriele Tinti 2451: 2430: 2415: 2400: 2388:Robert Wynne: 2386: 2383: 2369: 2367:978-1855661073 2355: 2343:Peter Wagner: 2341: 2339:978-1984539908 2327: 2316: 2302: 2288: 2285: 2274: 2263: 2245: 2229:Maria Rubins: 2227: 2209: 2195: 2177: 2163: 2142: 2126:Richard Meek: 2124: 2106: 2089: 2075: 2064: 2056:, Lund 1982). 2046: 2043: 2025: 2007:Murray Krieger 2004: 1990: 1976: 1962: 1948: 1936:Mario Klarer: 1934: 1920: 1906: 1892: 1882: 1864: 1846: 1837: 1823: 1821:978-8431331641 1805:El amigo manso 1798: 1777: 1756: 1742: 1721: 1704: 1694: 1673: 1652: 1638: 1636:978-0905205304 1626:Peter A. 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