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ECPHRASIS IN USEABLE TEXT: A GENOLOGICAL AND DISCOURSIVE PERSPECTIVE (Ekfraza w tekscie uzytkowym - w perspektywie genologicznej i uzytkowej)

100%
Witosz B.
Teksty Drugie (Second Texts)
|
2009
|
issue 1-2
105-126
EN
The authoress analyses ecphrasis in the linguistic context of genological conception, rooted in the Bakhtin tradition. She treats it as a genre whose role is to consolidate the effects of communing with the work of art. Ecphrasis is analysed in the functional text, taking into consideration its dual dependency - on the type of a discourse (recreational tourism) and on a genre, whose ingredient it is (a guidebook). Its formal-compositional, stylistic, interactive features as well as the manner of conceptualisation of the object of art are dependent upon both contextual conditioning (the principles of discourse and a persuasive as well as instructional function of a guidebook) and the specificity of the touristy experience of the reality. The situation of an eyewitness inspection triggers an unusual game between a word and an object, between a 'tourist's eye' and 'a guidebook's eye', between subjective and cultural perception, between the competence with the expectations of a tourist and the strategies of ecphrasis.
2
Content available remote

PATHS OF THE TEXT: FROM INTERMEDIALITY TO VISUALITY (Cesty textu: od intermediality k vizualite)

75%
Suwara B.
World Literature Studies
|
2010
|
vol. 2 (19)
|
issue 2
56-69
EN
The sceptics argue that a border persists between the textual and the visual in the new hypertext art. This critical position results not only from the empirical experience of a perceptive user of hypertext, but also from the need to promptly and at least partially address the problem of interpretation of textual and visual segments of literary projects received in an electronic environment without the authority of the traditional dichotomy between the textual and the visual. It seems problematic to ask whether the reader/user perceives textual segments in the new digital medium according to the conventions received from the culture of printed text and the visual segments according to the tradition of visual art, or differently. We could ask whether there exists an assumption according to which a reflective user could achieve 'high focus' on perceived textual and visual segments. Our working explanation of 'high focus' is based on the idea that 'high focus' results from the cooperation of information received at the same time by verbal and visual information channels. The authoress demonstrates the phenomenon of 'high focus' in fine art in the context of 'ecphrasis' and 'subversive ecphrasis' in the work with 'semantic enclave' (Snezna sova by Purkyne) by building on the project Shredder by M. Napier. The analysis confirms the argument by Didi-Huberman that visuality is a phenomenon that complicates the epistemological status of an image.
3
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NARRATIVE SCRIPTS AND PICTORIAL MODELS (Narativni scenare a piktorialni modely)

75%
Fedrova S., Jedlickova A.
World Literature Studies
|
2010
|
vol. 2 (19)
|
issue 2
20-41
EN
Following the path of research inquiring into the mutual relations of fine arts and literature, our intention is to investigate the alternatives of transferring certain ready-made structures from one media representation to another one, as well as the strategies of its adaptation to the capacity of the media taking over the new structure, i.e. literature and narrative fiction in particular. The focus is on such cases, where individual components of story comply with the general conditions of narrative structure and particular requirements of the plot, while representing a verbal form (or linguistic update) of a pictorial model, which often reflects a typical cultural scheme of the period concerned. Adopting the notion of pictorial model as introduced by Tamar Yacobi the authors revisit and explicate her analysis of its employment in Nabokov's short story “Spring in Fialta” (1936) to demonstrate its interpretive potential. Adding further examples from John Fowles's fiction they aim at distinguishing between singular (illustrative) and structural use of pictorial model. The latter is demonstrated in Frantisek Langer's short story „Susanna and the elders“ (1921) where the explicit quotation as well as latent presence of the eponymic pictorial model functions both as a plot scenario and as an interpretive matrix. Ecphrasis (of a fictional painting) and various more or less explicit, sometimes narrative diffused representations or even subtle allusions of several pictorial models may be found also in Alois Jirasek's novelette Zahoransky hon (1885); nevertheless, the crucial scheme is the employment of the gallant scenes typical of rococo paintings (particularly its prototypes which may be identified in Fragonard's works), including not only their topics and props but even techniques (such as scene lighting), which are applied here both as story components and discourse devices. While in many cases displayed by the author of the concept, Tamar Yacobi, pictorial models function as inset partial schemes and mere allusions carrying accessory cultural meanings, Jirasek's novelette may be considered as a salient example of their employment in construing the entire (rococo) story-world as well as in the narrative discourse.
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