Ekphrasis

Under Ekphrase or ekphrasis (Greek ἔκ - φρασις: " Description", lat descriptio; plural: Ekphraseis ) refers to the literary description of a work of visual art. In a broader sense ekphrasis refers to a literary or rhetorical form by which something is described or portrayed vividly and visually.

The degree of clarity, distinguishes the ekphrasis from this factual report. It is a literary visualization strategy: Ekphrase trying to "make listeners to the audience " ( as Nicholas of Myra ) and to suggest a quasi- synaesthetic, holistic experience. The proposal is therefore in the tension between observation and aesthetics.

Ekphrasis as a literary form

The specialization in the language of art history is the ancient rhetoricians and writers still foreign to them was the object of an Ekphrase (eg, people, places, events, objects). For the Modern nonetheless is largely the determination of ekphrasis as an art by description. In this case what is represented is often more ( image plot ) illustrates as the effect or the perception of the image. This is due to the emphasis on the storia ( " story" ) as an outstanding pictorial quality since Leon Battista Alberti. A fundamental comparability of text and image (or of their functioning ) is assumed. Therefore, the example of ekphrasis also repeatedly discussed the relationship between word / literature and about in Horace ( " ut pictura poiesis " ), the Paragons ( Contest of the Arts), or it anschließendenLaokoon debate. However, this emphasis on the narrative action must be questioned with the increasing solution of the fine arts of narrative and representative tasks (see abstract painting ). Against the background of understanding as an art description and the definition of ekphrasis as the verbal representation of visual representation ( James AW Heffernan ), ie the ekphrasis is to be understood as a double mediation of the real, as picture of the person portrayed. In this understanding would be about the description of a bouquet not ekphrasis, but rather the description of the image of a bouquet.

Ekphraseis occur as a separate genus or as a component of narrative texts. In the latter, they are used among other things to the emotional involvement of the reader / listener, as a parallel narrative, intratextuelles window or to bridge time and place. The belief in their persuasive impact often faces the accusation that she was just unnecessary jewelry.

Famous Ekphraseis include the description of the shield of Achilles in Homer's Iliad, the ajar mind shield description in Virgil's Aeneid, the Imagines of Philostratus, the description of Hagia Sophia Paul Silentiarius or the poem Ode on a Grecian Urn by Keats. As an example of " poetic painting" served in the 18th century often the poems of Albrecht von Haller. Also in Charlotte Brontë's Villette chapter Cleopatra makes this form. In the 20th century Henry James ekphrasis combined with his technique of internalization of sensory impressions, such as in the description of a painting by Agnolo Bronzino in The Wings of the Dove. There are numerous image descriptions Even in the contemporary literature, such as Théodore Géricault's Raft of Medusa in Julian Barnes ' A History of the World in 10 1/2 Chapters, Orhan Pamuk's My Name is Red, or works of the fictional artist Bill changer in Siri Hustvedts What I loved.

As an extreme formulation of the term Oscar Wilde can be seen The Picture of Dorian Gray, in which the relationship of the image viewer and the image whose ekphrasis, " comes to life " and itself becomes the subject of ekphrasis. This exaggeration is proving to be a successful literary concept and is found in the horror literature as the fundamental motif. Several novels Stephen King combine the idea Wilde with the ancient practice whereby the ekphrasis is transferred to everyday objects. This is the form in proximity to psychological dramas such as Ingeborg Bachmann's Malina.

Secondary literature

  • Frederick Alfred de Armas: ekphrasis in the age of Cervantes. Lewisburg: Bucknell University Press, 2005 ISBN 0-8387-5624-7.
  • Andrew Sprague Becker: The Shield of Achilles and the Poetics of Ekphrasis. Lanham, MD: Rowman & Littlefield, 1995, ISBN 0-8476-7998-5.
  • Emilie Bergman: Art Inscribed: Essays on Ekphrasis in Spanish Golden Age Poetry. Cambridge: Harvard University Press, 1979, ISBN 0-674-04805-9.
  • Gottfried Boehm and Helmut Pfotenhauer: Description Art, Art Description: ekphrasis from antiquity to the present. Munich: W. Fink, 1995, ISBN 3-7705-2966-9.
  • Siglind Bruhn: Musical Ekphrasis: Composers Responding to Poetry and Painting. Hillsdale, NY: Pendragon Press, 2000 ISBN 1-57647-036-9.
  • Siglind Bruhn: Musical Ekphrasis in Rilke 's life of Mary. Amsterdam / Atlanta: Rodopi, 2000, ISBN 90-420-0800-8.
  • Siglind Bruhn: A Concert of Paintings: ' Musical Ekphrasis ' in the Twentieth Century. In: Poetics Today 22:3 (Fall 2001): pp. 551-605. ISSN 0333-5372
  • Siglind Bruhn: The Museum sounding music interpreted works of visual art. Waldkirch: Gorz, 2004 ISBN 3-938095-00-8.
  • Siglind Bruhn: Vers une méthodologie de l' ekphrasis musical. In: Sens et signification en musique, ed. by Márta Grabócz and Danièle Piston. Paris: Hermann, 2007, pp. 155-176. ISBN 978-2-7056-6682-8
  • Siglind Bruhn, eds: Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis [ Interplay: Music in Interdisciplinary Dialogue Volume 6 ]. Hillsdale, NY: Pendragon Press, 2008 ISBN 978-1-57647-140-1.
  • Hermann Diels: About the described by Procopius of Gaza astronomical clock, with an appendix containing text and translation of the ekphrasis horologiou de Procopius of Gaza. Berlin, G. Reimer, 1917.
  • Barbara K. Fischer: Museum Mediations: Reframing Ekphrasis in Contemporary American Poetry. New York: Routledge, 2006 ISBN 978-0-415-97534-6.
  • Claude Gandelman: Reading Pictures, Viewing Texts. Bloomington: Indiana University Press, 1991, ISBN 0-253-32532-3.
  • Stefan Greif: The painting may have a very eloquent silence. Description art and visual aesthetics of the poet. Munich: Fink Verlag, 1998, ISBN 3-7705-3331-3.
  • Jean H. Hagstrum: The Sister Arts: The Tradtition of Literary Pictorialism and English Poetry from Dryden to Gray. Chicago: The University of Chicago Press, 1958.
  • James Heffernan: Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago: University of Chicago Press, 1993 ISBN 0-226-32313-7.
  • Franziska A. Irsigler: Described faces. Ekphrastische portraits in the narrative art of poetic realism, Bielefeld: 2012 ISBN 978-3-89528-934-7 Aisthesis.
  • Gayana Jurkevich: In pursuit of the natural sign: Azorin and the poetics of ekphrasis. Lewisburg, PA: Bucknell University Press, 1999 ISBN 0-8387-5413-9.
  • Mario Clearer: Ekphrasis: Image description and representation theory in Spenser, Sidney, Lyly and Shakespeare. Tübingen: Niemeyer, 2001 ISBN 3-484-42135-5.
  • Gisbert Kranz: The picture poem: Theory, Encyclopedia, Bibliography, 3 vols. Cologne: Böhlau, 1981-87. ISBN 3-412-04581-0
  • Gisbert Kranz: Masterpieces in picture poems: reception of art in poetry. Frankfurt: Peter Lang, 1986, ISBN 3-8204-9091-4.
  • Gisbert Kranz: The Architecture poem. Cologne: Böhlau, 1988 ISBN 3-412-06387-8.
  • Gisbert Kranz: The picture poem in Europe: On the theory and history of a literary genre. Paderborn: Schöningh, 1973 ISBN 3-506-74813-0.
  • Murray Krieger: Ekphrasis: The Illusion of the Natural Signed Baltimore: Johns Hopkins University Press, 1992, ISBN 0-8018-4266-2.
  • Hans Lund: Text as Picture: Studies in the Literary Transformation of Pictures. Lewiston, NY: E. Mellen Press, 1992 ( first in Swedish as texts som tavla, Lund 1982). ISBN 0-7734-9449-9
  • Michaela J. Marek: ekphrasis and Herrscherallegorie: Antique descriptions in the work by Titian and Leonardo. Worms: Werner'sche Publishing Company, 1985, ISBN 3-88462-035-5.
  • Hugo Méndez - Ramírez: Neruda 's Ekphrastic Experience: Mural Art and Canto general. Lewisburg, PA: Bucknell University Press, 1999 ISBN 0-8387-5398-1.
  • WJ Thomas Mitchell: Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago Press, 1994 ISBN 0-226-53231-3.
  • Margaret Helen Persin: Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish Poetry. Lewisburg, PA: Bucknell University Press, 1997, ISBN 0-8387-5335-3.
  • Michael CJ Putnam: Virgil 's Epic Designs: Ekphrasis in the Aeneid. New Haven: Yale University Press, 1998, ISBN 0-300-07353-4.
  • Christine Ratkowitsch: The poetic ekphrasis of works of art: a literary tradition of the Great Seal in Antiquity, the Middle Ages and early modern times. Vienna: Austrian Academy of Sciences, 2006 ISBN 978-3-7001-3480-0.
  • Valerie Robillard and Els Jongeneel ( eds): Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis. Amsterdam: VU University Press, 1998, ISBN 90-5383-595-4.
  • Maria Rubins: Crossroad of Arts, Crossroad of Cultures: Ecphrasis in Russian and French Poetry. New York: Palgrave, 2000 ISBN 0-312-22951-8.
  • Grant Scott: The Sculpted Word: Keats, Ekphrasis, and the Visual Arts. Hanover, NH: University Press of New England, 1994, ISBN 0-87451-679- X.
  • Mack Smith: Literary Realism and the Ekphrastic tradition. University Park: Pennsylvania State U Press, 1995 ISBN 0-271-01329- X.
  • Leo Spitzer: The ' Ode on a Grecian Urn ,' or Content vs.. Metagrammar. In: Comparative Literature 7th Eugene, OR: University of Oregon Press, 1955, pp. 203-225.
  • Peter Wagner: icons, text, Iconotexts: Essays on Ekphrasis and Intermediality. Berlin, New York: W. de Gruyter, 1996, ISBN 3-11-014291-0.
  • Haiko Wandhoff: ekphrasis: Art descriptions and virtual spaces in the literature of the Middle Ages. Berlin, New York: De Gruyter, 2003 ISBN 978-3-11-017938-5.
  • Robert Wynne: Imaginary ekphrasis. Columbus, OH: Pudding House Publications, 2005 ISBN 1-58998-335-1.
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