Search results

1

Fotografie w narracjach ekfrastycznych. Przypadek pewnego albumu

100%

Konończuk E.

Zagadnienia Rodzajów Literackich

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2016

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vol. 59/120 z. 4

125-133

EN

The subject of the article are ekphrases of photograps in the album Słowo historii. Fotoeseje (Białystok 2015). This album contains of thirty anonymous photos documenting the return of Poles from Russia after World War I. The photos were taken in unidentified places und unknown times. Thereafter, they became the topic of ekphrastic narrations created by reporters and essayists: Piotr Nestorowicz, Wojciech Nowicki, Daniel Odija, Michał Olszewski, Filip Springer, Ilona Wiśniewska.

2

Ekphrastic Historiographic Metafiction – Enfolding Word, Image and History

100%

Bugno-Narecka D.

Lublin Studies in Modern Languages and Literature

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2020

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vol. 44

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issue 2

DE

Der Artikel enthält das Abstract ausschließlich in englischer Sprache.

EN

The purpose of this paper is to provide a dynamic model of ekphrasis which can be used to interpret literary works that refer to, and thus, represent works of art. The paper will also show how ekphrasis as a fold collaborates with historiographic metafiction in ekphrastic historiographic metafiction. Theoretical reflection will be illustrated with the relevant examples from Salman Rushdie’s The Enchantress of Florence, Patrick Gale’s Notes from an Exhibition, Tracy Chevalier’s Girl with a Pearl Earring and Joseph Heller’s Picture This.

FR

L'article contient uniquement le résumé en anglais.

3

Opis świątyni Mądrości Bożej w Konstantynopolu Prokopiusza z Cezarei – między historiografią a retoryką

100%

Garnczarska M.

Saeculum Christianum. Pismo Historyczne

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2016

|

vol. 1

36-47

EN

The sixth-century historian Procopius of Caesarea described the church of Hagia Sophia in Constantinople in his treatise „Περὶ κτισμάτων” (“On Buildings”). The text about Hagia Sophia is the only surviving historical source for the original Justinianic edifice before the collapse of its first dome in 558. This detailed and elaborate description of the church is an example of ekphrasis. Ekphrasis is a rhetorical technique which makes the described object visible. In this paper I will attempt to analyse how far Procopius' description is a rhetorical exercise, and how far it is a trustworthy historical source.

4

Representing Absence: Contemporary Ekphrasis in “Apesh-t”

100%

Handley A.

Text Matters: A Journal of Literature, Theory and Culture

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2020

|

issue 10

118-134

EN

Traditionally, ekphrasis has been defined as the description and analysis of works of art in poetry, and so it has been understood as the verbalization of visual images (Sager Eidt). The article examines the concept in the light of contemporary definitions that include non-verbal media as targets (Cariboni Killander, Lutas and Strukelj; Sager Eidt; Bruhn; Pethö) in order to analyze its applicability to music videos. It concentrates in particular on “Apesh-t,” a video for a track by Beyoncé and Jay-Z from the album Everything Is Love (2018). The video is filmed in different interiors of the Louvre, where the singers appear, together with an ensemble of dancers, in front of selected artworks. The discussion focuses on an analysis of a single shot which presents an ekphrastic re-configuration of one particular work of European art, Jacques-Louis David’s Portrait of Madame Récamier (1800). The author argues that the use of ekphrasis in the video-through elaboration (close-ups and editing) and repurposing of the source material (painting)-plays an important role in the construction of the theme of “absence”: invoking not only what is represented, but what is not represented in David’s painting. It also foregrounds the potential of ekphrasis as a tool of political and cultural resistance, in the way it intervenes in the representation of the “other” in art and in the museum space.

5

Problem antycznej ekfrazy teatralnej. Część I: Postać

100%

Czerwińska J.

Collectanea Philologica

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2018

|

issue 21

39-57

EN

Ekphrasis is one of the forms that the Greek tragic dramatists used in their plays. From a dramaturgical point of view it was a very important element of play strictly connected with the conventions of the ancient theater. The examples taken from the Euripidean tragedy will be used to demonstrate the ways the ancient Greek tragedians applied ekphrasis in their works. Their review will start with descriptions, which can be conventionally called the ekphrasis of the theatrical “mask”. The term mask is understood here not sensu stricto as a part of actor’s costume, but as having a reference to what it hides. This type of ekphrasis may be found in visually inaccessible to the public of the Greek theater face of dramatis personae that is hidden behind the mask. It concealed facial expressions, so important to understand the action of the drama itself, as well as the role played by the actor. It is impossible to overestimate the importance of this dramaturgical element as a non-verbal means of communication which harmonizes with the text of play and its action and is crucial to perceive the intended meaning of the actors’ words.

6

Techniques reproductibles et artistiques dans L’Œuvre au Noir de Marguerite Yourcenar : transposition et référence communicative

89%

Abdelouahed H.

Quêtes littéraires

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2015

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issue 5

139-147

FR

Marguerite Yourcenar’s novel The Work in Black provides descriptions of artwork. Fingerprints artistic figurations in his novel become both a text and materiality of Intermediality Ut Pictura poesis. How is formed the symbiosis of the diegesis and Ekhprasis in the novel by Marguerite Yourcenar? Mannerist processes allow the author to play on two different display modes: the text and the image called by the text. How is this transposition within the Work in Black, a novel supposed to represent social circles of the Renaissance by taking the idea to Breughel and simultaneously echo the turpitude where there the contemporary world. Communication between the image and the text does not only nesting but also a representation that is created as a space, an "inner distance" in the words of Georges Poulet, which makes the work a bet abyss in the search for the essence the art work, the philosopher's stone which is the original experience of vision. The curveball opens an "inner space" as Claude Edmonde Magny analysis allowing the novel to open and expand this optical illusion, create connections, secret architectures. We will try to develop these problems merging form of osmosis The work at Black Yourcenar, at the intersection of disciplines and critical approaches that think the work of art in its many meanings and semiotic richness.

7

« Elle peint comme elle chante... »

89%

Wierzbowska E. M.

Quêtes littéraires

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2015

|

issue 5

79-87

FR

The large part of Marie Krysinska’s poetry is pictorial in the intrinsic way. The range of the references to painting, both explicit and implicit, is not less significant than the musical references. Being a musician, Krysinska is as well sensitive to the colours and lines, she makes one hear and see her poetic images. This ability lets her create “images en l’air” whose pictorial intensity is varying, from the impression to the ekphrasis. Through different painting references Krysinska reveals her rooting in the culture, enters into the continuum of aesthetic reflection, involves herself in a dialogue between arts – which incessantly lasts throughout the ages – on the synchronic and diachronic level. Consciousness which diffuses through the poetic-pictorial work of art is consequently complex and heterogenic, both individual and collective. Pictoriality becomes a code, cultural and emotional, which reinforces the work of imagination and lets one feel a twofold aesthetic satisfaction.

8

IMAGINED REBELLION: WHAT DOESN'T HAPPEN IN THE WINTER'S TALE

88%

Guéron C. T.

Gender Studies

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2013

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vol. 12

|

issue 1

52-67

EN

Shakespeare’s The Winter’s Tale features a pattern of violent rebellion that only just fails to happen. Such moments of near-rebellion, best interpreted through the play’s master trope of the moving statue, constitute an exploration of the causes of political rebellion and how best to avert it. Thanks to the close integration of its romance aesthetics and political realism, The Winter’s Tale can be read as a “Mirror for Kings”.

9

From Brushes to Lenses: An Ekphrastic Stroll in "A Line Made by Walking" by Sara Baume

88%

Ferreira J. S., Vieira M. d. P.

Lublin Studies in Modern Languages and Literature

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2020

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vol. 44

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issue 2

DE

Der Artikel enthält das Abstract ausschließlich in englischer Sprache.

EN

There is a sizeable body of scholarship concerning the ekphrastic relation of literature to painting – however, there has been ascending interest in other sources of inspiration, such as photography. The aim of this paper is to explore whether the categories used to analyse ekphraseis of paintings might apply to the ekphraseis inspired by photography in Sara Baume’s A Line Made by Walking (2017), considering that they provide insightful information regarding the creative process of the protagonist and her inner state. The notion of ekphrasis (Clüver, Vieira, Webb) and theories of photography (Barthes, Machado, Sontag) will be used as theoretical support.

FR

L'article contient uniquement le résumé en anglais.

10

Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

88%

Hetman J.

Lublin Studies in Modern Languages and Literature

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2020

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vol. 44

|

issue 2

DE

Der Artikel enthält das Abstract ausschließlich in englischer Sprache.

EN

The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20th century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s Athena, Kurt Vonnegut’s Bluebeard and Don DeLillo’s Mao II – in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.

FR

L'article contient uniquement le résumé en anglais.

11

„Park pod Lucerną” albo kombinat fabryk. Przestrzeń dzieł sztuki w tekstach Jakuba Kornhausera

88%

Dynkowska J.

Białostockie Studia Literaturoznawcze

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2018

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issue 13

51-63

EN

The paper discusses literary forms of extension and transformation of the space of art works in the selected texts by Jakub Kornhauser. In the ﬁrst mode, the spatial system of the painting is integrated with the real space, which is immediate to the subject, allowing the conceptualization of the subject’s experience. In the second mode the subject presents either a continuation or the story that precedes the plot featured in the work of art. The story narrated is subjected to the realities of the visual paradigm. It completes what remains unseen in the painting. The author asserts that it is this way of representing space that may determine the apocryphal component in the ekphrastic text.

12

Analiza interartystyczna ekfraz: Lekcja muzyki Vermeera w interpretacji Adama Zagajewskiego i Joanny Pollakówny

88%

Słodczyk R.

Slavia Occidentalis

|

2017

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issue 74/2

17-37

PL

The article focuses on the issue of describing a work of art in an essay. The paper presents ekphrasis and underlines the efficiency of an inter-artistic analysis in studying the phenomenon of ekphrasis. An interpretation offragments of Zagajewski’s and Pollakówna’s essays starts with presenting two works of art, The Music Lesson and Girl Interrupted at Her Music by Vermeer, from the perspective of art history. It is followed by a discussion of the verbal accounts of the paintings by Zagajewski and Pollakówna. Their contents and poetics are examined with special emphasis placed on the nature of the suggested description as it may focus on either the subject or the viewer, the representation itself or its connotations. Accordingly, it is suggested that the corresponding modes of ekphrasis should be labelled ‘denotational’ and ‘connotational’. In his description, Zagajewski resorts to an example of connotational ekphrasis whereas Pollakówna’s textual relation is a fine example of mixing the denotational and connotational facets of ekphrasis. The article presents specifi realizations of ekphrasis and the characteristic modes of perceiving works of art and describing them. It also shows how the observer’s subjective perspective and idiomatic style of expression manifest themselves.

13

The Reflection of High Renaissance and Mannerism of the Works of Michelangelo Buonarroti in the Interpretation of Irving Stone in His Last Biographical Novel The Agony and the Ecstasy

88%

Kwiatkowska A.

Acta Neophilologica

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2013

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issue XV/2

139-148

EN

The article focuses on the artistic elements of Italian High Renaissance and Mannerism in the narrative structure of the biographical novel about Michelangelo Buonarroti, The Agony and the Ecstasy, by Irving Stone. The discussion of the above is limited to one selected aspect of narration, namely a description. The analysis includes ekphrastic passages referring to the most well known, monumental sculptural pieces by Michelangelo Buonarroti. The aim of the article is to establish the extend to which the literary descriptions form the novel by Irving Stone reflect the character and style of the 16th century sculptures of Michelangelo.

14

„Poezja metafizycznych pytań”

88%

Dutka E.

Śląskie Studia Polonistyczne

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2015

|

issue 2(7)

249-257

EN

The review offers a presentation of Marta Flakowicz-Szczyrba’s book Dowód na istnienie. Poezja Julii Hartwig wobec egzystencji i sztuki [A Proof of Existence. Julia Hartwig’s Poetry on Existence and Art], where the lyric oeuvre of the famous poet is placed within the „poetry of metaphysical question.” A particular attention is given to a hermeneutic way of reading the works of the author of Zobaczone [Seen] and to the use of such categories as epiphany, empathy, ekphrasis, apocatastasis in the course of the analysis.

15

Some Remarks on the Significance of Gold Based on Byzantine Ekphraseis of Works of Art

88%

Garnczarska M.

Studia Ceranea

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2020

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vol. 10

83-121

EN

The abundance of gilding is considered to be a particularly characteristic feature of Byzantine art. This attribute can be confirmed by even a cursory analysis of works of art. In short, Byzantine artists used gold on a large scale, showing great technical skill. It is therefore quite surprising that this issue has not yet received a separate, comprehensive study. Admittedly, researchers recognize the presence of gold but unfortunately, they almost do not go beyond general observations. On the one hand, they emphasize the primary role of the symbolic meanings of gold, and, on the other, they indicate the high material value of this precious metal. These comments are usually very general and their authors rarely refer to specific primary sources. Their observations, however, speak more about present-day ideas about Byzantine culture than about it itself. The indicated problem is an important and extensive task to be done, hence this paper is only an outline of the most important questions, each of which requires a separate and in-depth study. Therefore, this synthetic article introduces the most basic points associated with the understanding of gold in Byzantium. For this purpose, selected examples of Byzantine texts in which their authors referred to gold in a strictly artistic context are analysed. Thus, the main thesis is as follows: in Byzantine painting, gold, one of the most important devices of artistic expression, was used on a large scale primarily for aesthetic reasons.

16

Nieprzezroczystość ekfrazy: reprezentowanie, zapośredniczanie i przekład w opisach artefaktów

87%

Słodczyk R.

Przestrzenie Teorii

|

2018

|

issue 29

153-178

EN

The article concentrates on the non-transparency of ekphrasis, including the relevance - in the case of a full, in-depth analysis of particular ekphrasis - not only of the description but also of the artefact itself. The text reflects upon subjects rarely dealt with in ekphrasis research, such as on the meaning and relations of the concepts ‘presentation’ and ‘representation’. There is a focus on the question of multi-layered mediation, which is related to this discourse figure: through language, through the viewer’s perspective who writes about the work, through the reader themself, and also, or perhaps first and foremost, through the work itself. This all results in ekphrasis being treated as a representation of representation. This also gives rise to thoughts on the problem of translating the visual system to verbal and the issues related to this.

17

Istnienia równoległe? Człowiek i rzeczy w poezji Bogusławy Latawiec

87%

Trzcińska A.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2018

|

issue 32

307-326

EN

The article elaborates on the place and status of items and the relationship that occurs between human and thing in Bogusława’s Latawiec poetry. The author made an attempt to capture the way in which this issue has evolved in Latawiec’s poetic works – from her first book to the last collection of poems. At the same time poetry has been confronted them with selected theoretical approaches.

18

EKPHRASIS – A SUGGESTION OF PARALLEL READING “TEXT-IMAGE”

75%

Banea A. M.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2009

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vol. 1

183-198

EN

The papers aims at answering the question: “What is an ekphrasis?” by enumerating a series of definitions that have been given to the concept. The article begins with some general remarks on the relation between a literary and a visual work of art, followed by an etymological and chronological frame of the concept / term ekphrasis. Special emphasis is laid upon ekphrasis theorists like Murray Krieger, Linda Hutcheon, A. W. Hefferman, Dan Grigorescu, Erwin Panofsky. Ekphrasis is not the only way by which one may associate literature and painting, the alternative being represented by picturality and iconicity. On a narratological / meta-narratological / meta-narrative level, it equally involves a complementarity between trans-textuality, transposition, intertextuality, commutability (Kristeva, Genette, Baudrillard). The three techniques do not exclude each other; on the contrary, they interact and cooperate in the act of reading and interpretation. Ekphrasis is the art of describing works of art, a verbal representation of a visual representation.

19

Shakespeare, the Ekphrastic Translator

75%

Brînzeu P.

Linguaculture

|

2015

|

vol. 2015

|

issue 1

89-97

EN

In The Rape of Lucrece, the Shakespearean heroine admires a wall-painting illustrating a scene from the Trojan War. The two hundred lines of the poem in which Lucrece describes the ancient characters involved in the war represent a remarkable piece of ekphrastic transposition. It produces a vivid effect in the poem’s narrative, draws attention to the power of ekphrasis in guiding the reader’s interpretation, and represents an unrivalled example of embedded ekphrasis, unique in Renaissance poetry.

20

"Imprecision, uncertainty, transience, incompleteness": Gerhard Richter’s "October 18, 1977" and Don DeLillo’s "Baader-Meinhof"

75%

Ireson-Howells T.

Lublin Studies in Modern Languages and Literature

|

2020

|

vol. 44

|

issue 2

DE

Der Artikel enthält das Abstract ausschließlich in englischer Sprache.

EN

This article explores the relationship between Gerhard Richter’s October 18, 1977 and Don DeLillo’s short story “Baader-Meinhof”. Richter’s depiction of the deaths of members of the Red Army Faction draws from original photographic sources. Richter blurs these images thereby questioning aspects of obfuscation and the paradoxical clarity of incompleteness. DeLillo’s story is centred on a discussion about the paintings which quickly transforms into a narrative of coercion and stalking. This paper considers how visual art can be represented in fiction finding parallels between Richter’s and DeLillo’s use of repetition, haziness and uncertainty to problematise the act of viewing.

FR

L'article contient uniquement le résumé en anglais.

Refine search results

Fotografie w narracjach ekfrastycznych. Przypadek pewnego albumu

Ekphrastic Historiographic Metafiction – Enfolding Word, Image and History

Opis świątyni Mądrości Bożej w Konstantynopolu Prokopiusza z Cezarei – między historiografią a retoryką

Representing Absence: Contemporary Ekphrasis in “Apesh-t”

Problem antycznej ekfrazy teatralnej. Część I: Postać

Techniques reproductibles et artistiques dans L’Œuvre au Noir de Marguerite Yourcenar : transposition et référence communicative

« Elle peint comme elle chante... »

IMAGINED REBELLION: WHAT DOESN'T HAPPEN IN THE WINTER'S TALE

From Brushes to Lenses: An Ekphrastic Stroll in "A Line Made by Walking" by Sara Baume

Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

„Park pod Lucerną” albo kombinat fabryk. Przestrzeń dzieł sztuki w tekstach Jakuba Kornhausera

Analiza interartystyczna ekfraz: Lekcja muzyki Vermeera w interpretacji Adama Zagajewskiego i Joanny Pollakówny

The Reflection of High Renaissance and Mannerism of the Works of Michelangelo Buonarroti in the Interpretation of Irving Stone in His Last Biographical Novel The Agony and the Ecstasy

„Poezja metafizycznych pytań”

Some Remarks on the Significance of Gold Based on Byzantine Ekphraseis of Works of Art

Nieprzezroczystość ekfrazy: reprezentowanie, zapośredniczanie i przekład w opisach artefaktów

Istnienia równoległe? Człowiek i rzeczy w poezji Bogusławy Latawiec

EKPHRASIS – A SUGGESTION OF PARALLEL READING “TEXT-IMAGE”

Shakespeare, the Ekphrastic Translator

"Imprecision, uncertainty, transience, incompleteness": Gerhard Richter’s "October 18, 1977" and Don DeLillo’s "Baader-Meinhof"