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1

OBRAZ V PŘÍBĚHU – EKFRÁZE VE VYPRÁVĚNÍ. PŘEDBĚŽNÉ NÁVRHY K ROZLIŠENÍ POPISNOSTI A VIZUALITY

100%
Jedličková A., Fedrová S.
Slovenská literatúra (Slovak Literature)
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2010
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vol. 57
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issue 1
29 – 59
EN
The term visualisation belongs in the last decades to the most frequent expressions in discussions about culture. A contrastive example of quite a recent novel Miloš Urban: (Lord Mord, 2008) and a fiction fits in the narrative tradition of the 19th century Jakub Arbes: Saint Xaverius (Svatý Xaverius, 1873) show disproportional attention, which is paid to visual qualities of the text in the interpretation, and also to swapping the terms visualisation and descriptiveness. The study therefore submits classification of descriptiveness just in a form of work, in which like a decisive parameter the measure of visualisation is chosen. There is a distinction between visualisation as a quality of verbal experience supported by a concrete text and visualisation as a potential effect of particular qualities of the text. Based on the criteria there are determined descriptions in the study such as fully informational, illustrational with symbolic function, suggestive description of the setting evoking atmosphere, “visual“ description, which means visually well-grounded in the textual level and directing the reader to visualisation of a described subject and – in a gradational order description – to ekphrasis. In the examples of a specific literary genre – ekphrasis predominately deals with ways of its dynamizing; that means involving into narration both the microstructure of an action, as well as macrostructure of a story. Pursuant the level of involvement it is possible then to follow up the full scale of options within simple ekphrasis allusion of a picture and ekphrasis fully constructed through epic, including e.g. ekphrasis connected with gradually built up interpretation of a picture, that is a key for the interpretation of psychology of either characters or the entire story in the novel by Jaroslav Maria Saintesses, Ladies and Sluts (1927). Here and also in Arbes´ Saint Xaverius (Svatý Xaverius) there is a possibility to apply of interpretational art-historical methods for literary scholarship shown, in cases if iconographic analysis of the picture depicted in the story makes easier comprehension of the symbolic projection in reflexive element of narration. Differentiation between involvement of a “picture into the story“ and “ekphrasis in the text of narration“ seems to be heuristically useful, but most of the times also ontologically necessary.
2

IN PURSUIT OF THE EKPHRASTIC TRANSITION: THE ICON IN JERZY HARASYMOWICZ'S 'LOVE POEMS' (W poszukiwaniu ekfrastycznego przejscia. Ikona w 'Wierszach milosnych' Jerzego Harasymowicza)

100%
Stanczyk E.
Ruch Literacki
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2009
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vol. 50
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issue 3(294)
263-282
EN
This article deals with the influence of icon painting on the poetry writing of Jerzy Harasymowicz (1933-1999). Based on W. J. T. Mitchell's 'ekphrastic fascination', Peter Wagner's 'intermediality', and Valerii Lepakhin's more complex concept of 'the verbal icon', this study attempts to present Harasymowicz's attitude towards the icon and to show how an immersion in the art of Byzantine Christianity opens the way towards ekphrasis. The article demonstrates that Harasymowicz's quest for a 'complete ekphrasis' consisted of the following phases: transfer of the iconographic mindset into the poem, construction of a verbal match of the Orthodox Prototype, representation of the iconic hierarchy of colour by words, and the use of concrete iconographic representations to achieve complete ekphrasis. In conclusion it is stated that Harasymowicz's use of the icon shows his profound understanding of its theological meaning and, at the same time, is a remarkable example of the transcultural absorption of the Orthodox Other.
3

Opisac filmikowanie. „Eulalia” jako ekfraza filmiku „Napad na stacji”)

100%
Tomczyk I.
Pamiętnik Literacki
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2013
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vol. 104
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issue 1
45–82
EN
The text attempts at an interpretation of Miron Bialoszewski’s prose Eulalia. The title heroine is a doll, a mannequin, which Bialoszewski’s friend Adriana Buraczewska made of paper mass and colourfull pieces of cloth. Eulalia appears in Bialoszewski’s few movies, i.e. short silent films produced in Bialoszewski’s flat in Warsaw district of Zoliborz. The story in question is the only one in Ada and Roman Klewin’s creativity, which the poet exclusively devoted to filming. Starting from the meaning of the heroine (“Eulalia” is the one who is distinguished as having the values of a speaker), the author tries to prove that the piece is an ekphrasis of a silent movie. Exploring the rich ekphrasis-researching tools, the author choose the approach proposed by Jan Elsner. It allows for an examination of the relationship between the word and the picture as well as adds the problems of movie and look into its considerations.
4

Ovid's Tree catalogue.and the aesthetics of the Metamorphoses

100%
Acel Z.
Antik Tanulmanyok (Studia Antiqua)
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2007
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vol. 51
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issue 2
239-273
EN
The tree catalogue (10, 90 - 106) in Ovid's 'Metamorphoses' is a piece hardly yielding to interpretation. Inherently relating to the motives of Book 10, it anticipates the main themes of the song of Orpheus and builds upon the tradition of 'ekphrasis' and 'locus amoenus'. The botanical names refer to particular narratives, making by this way for the basic unity of the text. The catalogue, itself a representative of the literary approaches, artistic style and horticulture of the urbanitas, can be read as the manifestation of a new theory of art that redefines the relationship of ars and natura. A reconstruction of the conceptual development of 'mimesis' may lead to a better understanding of the tree catalogue and of the whole epic. At the same time, it may also bring contribute to a profound comprehension of the theory of art, either implied or overtly expressed in 'Metamorphoses', without seeking for the concepts of contemporary literary criticism.
5

Wizerunek i symboliczny wymiar cielesności kobiecej w poezji Walerija Briusowa. Ciało kobiety mitycznej

88%
Gozdek A.
Slavica Wratislaviensia
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2011
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vol. 153
309-316
EN
In the article, two poems which have the same title Hymn to Aphrodite written by Valery Bryusov in 1912 and 1920 were analyzed and interpreted. The important place in both texts takes mythopoetical figure of the Greek Goddess of love and beauty. In the first poem the author shows Aphrodite as a sculpture made of white marble, which is a carnal human creature at the same time. Each element of her body is a sign: her eyes — watch and see, her lips — express the truth and prophesy, her legs — support the universe, her knees — demand a bow from a man. On the one hand Aphrodite-the Love has somatic dimension, on the other — under her carnal form the depth and mystical secret are hidden. The poet warns against the shallow sensual perception of love. In the second Bryusov’s text, Aphrodite as a personification of love/passion gathers the features of higher creature, and her body becomes the same as the body of the universe: it is scattered in the nature and gives it shape and form. The analysis of both poems written by the Russian decadent shows that it is through carnality that the motive of passion which is pivotal for the poet’s creation is realized. The passion is strong and at the same time tearful, but it is worthy of worship and respect.
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