The article investigates the rhetorical means of mediating affective experience in occasioned storytelling. The completion of this article has been supported by The Emil Aaltonen Foundation and The Academy of Finland project (285144) The Literary in Life and The Academy of Finland project (326645) European Solidarities in Turmoil. We are interested in the forms and aspects of bodily action in signifying and communicating a “para-factual experience” that was triggered by a real-life incident, but in fact only took place in a (...) person’s imagination. We explore the case of a TV interview in which an American living in Finland narrates a personal, disturbing experience related to the news about 9/11. The story presents a visual scenario of the teller’s affective reaction towards two Muslim women in a grocery store. What is interesting in the story are its involuntary dimensions: the scenario portrays a picture of the teller that he finds unrecognizable and detached from his sense of self as a person. Even if the act was never actually realized, to the teller it felt real and compelling, as is manifest in the way he translates the scenario into a bodily performance. The teller not only uses his body to tell the story but momentarily turns the surrounding setting into a scene in the storyworld in which he plays the unidentified me. We call this physical performance of the imagined scene the embodied ekphrasis of experience. In Semiotica, the rhetorical device of ekphrasis has appeared before (see Frosh 2003; Hopkins 2015; Nesselroth 2016; Sarapik 2009) from such literary and linguistic perspectives, as well as through the lens of media research and cultural studies, to which our application will add from the viewpoint of ethnomethodology and the social sciences. Deploying research on multimodal interaction and intermediality, our empirical analysis explicates how the teller’s body, and not just words, build action, convey affective meaning, and resemiotize and mobilize a physical enactment of the past hypothetical scene. (shrink)

Ekphrasis is familiar as a rhetorical tool for inducing enargeia, the vivid sense that a reader or listener is actually in the presence of the objects described. This book focuses on the ekphrastic techniques used in ancient Greek and Roman literature to describe technological artifacts. Since the literary discourse on technology extended beyond technical texts, this book explores 'technical ekphrasis' in a wide range of genres, including history, poetry, and philosophy as well as mechanical, scientific, and mathematical works. (...) Technical authors like Philo of Byzantium, Vitruvius, Hero of Alexandria, and Claudius Ptolemy are put into dialogue with close contemporaries in other genres, like Diodorus Siculus, Cicero, Ovid, and Aelius Theon. The treatment of 'technical ekphrasis' here covers the techniques of description, the interaction of verbal and visual elements, the role of instructions, and the balance between describing the artifact's material qualities and the other bodies of knowledge it evokes. (shrink)

The essay explores the concept of interpretation in Freudian psychoanalysis as an act of reading. Freud understands the appearance of dreams and unconscious phantasies in analogy to the structure of perceptual images. On the one hand, he conceives of the patients’ verbal accounts of those images as a specific kind of ekphrasis. On the other hand, the images themselves are regarded as distorted versions of an underlying »dream text« rendering the fundamental desire that the images express and conceal at (...) the same time. The essay shows that the complex system of translations between different layers of text and image in Freud is based on the assumption that the dream images themselves can be analyzed as texts only mimicking the »natural« appearance of perceptions. Freud’s notion of the »rebus« is central to this discussion. The final part examines Freud’s reading of Michelangelo’s Moses statue in the church San Pietro in Vincoli in Rome. It demonstrates how the Freudian method of interpretation itself reduces the sculpture to a set of signs, making it perform a mimicry of textual systems. (shrink)

Saunders and van Brakel propose that we rethink or reject much of current colour theory. Many of the problems they cite appear to call for further research rather than a radical rethinking of colour theory. The controversy described in this target article appears to be itself a case of or something that does not exist.

Five Heads (1929–1930) and Actors in the Square (1969). An attempt was made to trace the external plan of the image in all its elements (form construction, figure composition, the characteristics of faces, the color landscape) and to reveal the internal plan, the figurative structure, which manifests itself in the play of the color surface, which performs a dual role: to be both an object shell and a screen, where associations that arose in the mind and imagination of the artist (...) in the process of work are visualized. The attempt to see and analyze how the interweaving of the two image planes (symbiosis, synthesis), their flowing into each other create a pulsating image of the work that touches the feelings of the viewer. (shrink)

This article argues for an alternative interpretation of the ekphrasis of Pelops and Myrtilos among Adrastus’ parade of ancestral images in lines 6.283–5 of Statius’ Thebaid. The majority of scholarly readings believe that the scene described in these lines alludes to the mythical chariot-race between Pelops and Oenomaus. Using a combination of visual, intertextual and intratextual evidence, this article suggests that these lines more likely refer to a later part of the myth—Pelops’ murder of Myrtilos, as the former hurls (...) the latter into the Myrtoan sea from a flying chariot. This paper concludes by exploring what implications this alternative reading has for our understanding of Statius’ use of ekphrasis as a narrative technique and, more specifically, its significance on our reading of the ekphrasis of Adrastus’ ancestral images. (shrink)

This paper examines the cultural antagonisms of Martial's _Apophoreta_ 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the "museum spaces" of the Flavian city, where artworks became testaments to the power and culture of Rome. While evoking these masterpiece (...) collections, however, the epigrams in fact describe miniatures changing hands at a banquet. Martial thus tropes a second Roman practice of appropriation, namely the widespread consumption of transmedial miniature copies. Third and finally, the epigrams dramatize the vulnerability of plundered objects by reevaluating their significance within the Roman frameworks of Latin literature and the Saturnalia. In this miniature ekphrastic series, then, Martial's apophoretic poetics converge with Roman forms of appropriation both imperial and domestic, concrete and conceptual. (shrink)

This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome. While evoking these masterpiece (...) collections, however, the epigrams in fact describe miniatures changing hands at a banquet. Martial thus tropes a second Roman practice of appropriation, namely the widespread consumption of transmedial miniature copies. Third and finally, the epigrams dramatize the vulnerability of plundered objects by reevaluating their significance within the Roman frameworks of Latin literature and the Saturnalia. In this miniature ekphrastic series, then, Martial's apophoretic poetics converge with Roman forms of appropriation both imperial and domestic, concrete and conceptual. (shrink)

In this paper, I intend to explore three examples ofekphrasis– narrative scene painting – in Demosthenes 18 and 19: the first is Demosthenes' depiction of the announcement in Athens of the capture of Elatea by Philip, while the second and third are descriptions of Aeschines' failed theatrical performances. Scholars have paid insufficient attention to these descriptive accounts: there have been a few limited discussions of 18.169 in commentaries but, otherwise, the use and purpose of these accounts as part of Demosthenes' (...) rhetorical strategy have not been widely appreciated. This article aims to show thatekphrasis, when skilfully deployed as in Demosthenes 18 and 19, is a powerful weapon in the speaker's arsenal that merits thorough investigation. By instructing the audience as to what and how to think, imagine and remember, orators seek to engage the audience, elicit their verbal or non-verbal reaction in the law court, create a certain disposition in them towards the litigants, stir up and manipulate their emotions, and thus affect their verdict. (shrink)

As an imperial Greek author of both cultural and stylistic interest, Aretaeus deserves to be more widely read. His most riveting disease descriptions bring before our eyes the spectacle of the human body in extreme states of suffering and dehumanization. These descriptions achieve a degree of visual immediacy and emotional impact unparalleled among ancient medical writers. This essay considers them as examples of ekphrastic rhetoric, designed to create enargeia. To intensify immediacy and impact, Aretaeus deploys a set of techniques that (...) invite the reader’s active engagement with the spectacle he describes. This engagement has the potential to generate a corporeal response that destabilizes the boundary between the body of the reader and the body in the text. The modern concept of “empathy” is perhaps too anodyne to convey the complexity of the response involved. (shrink)

Ekphrasis has been a popular topic in recent years among scholars of both classical and later literature. The latter have been particularly interested in the modern definition of ekphrasis as a description of artwork and the development of global definitions and theories. Ancient ekphrasis, however, was much broader in scope. By examining Hephaestus' automaton handmaids and the shield of Achilles in the Iliad, along with the Pandora stories in the works of Hesiod, we can illustrate the nature (...) and character of ancient ekphrasis in ways that call into question modern theories and demonstrate the vibrancy and complexity of even its earliest examples in Greek literature. (shrink)

The ‘turgid archaisms’ of Paul the Silentiary's style have ensured that his two hexameter Ekphrases, describing the Emperor Justinian's sixth-century church of S. Sophia in Constantinople and its ambo, have lately attracted little interest, except among art historians who seek to extract nuggets of architectural information. On the other hand, the eighty or so pagan epigrams by Paul which are preserved in the Palatine and Planudean Anthologies have received attention in recent years both because of their literary interest and for (...) the social and historical information which they contain. In my opinion, the much more substantial Ekphrases likewise deserve to be examined as literary and historical documents. The title Ekphrasis disguises the historical interest of the works: unlike the majority of the epigrams, these poems are no mere literary exercises, but official, public works, undoubtedly commissioned by Justinian, and delivered on specific and identifiable occasions. Only the central portion of the major poem describing S. Sophia comprises technical architectural ekphrasis; this is preceded and followed by panegyrical material appropriate to the occasion of recitation which together takes up almost half the total length of the poem . Here the Emperor Justinian, patron of the church, and Eutychius, Patriarch of Constantinople, are praised, and the events leading up to the occasion of the poem sketched. This topical part of the work provides evidence for the ceremonial which accompanied the poem's recitation and demonstrates the type of imperial propaganda pertinent to the end of the reign of Justinian. Moreover, an explanation for a limited number of stylistic flaws in a work which, by contemporary standards at least, is of high literary quality, may lie in the recognition that Paul was obliged to complete his poem in time for a specific occasion. It is with these three occasional aspects of the work that I shall here be concerned. (shrink)

O tema do artigo são as representações de moldura e ekphrasis em A santa de Schöneberg, conto de Rubem Fonseca que tem como centro a vida e a obra do pintor EgonSchiele. O objetivo é verificar como tais procedimentos são realizados pelo narrador e de que maneira eles contribuem para o desenvolvimento da trama. Assim, tomamos como apoio teórico textos de estudiosos que tratam de moldura, da ekphrasis, da obra fonsequiana e de aspectos das narrativas breves, tais como (...) Ortega y Gasset (1963), Rosana de Lima Soares (2001), João Adolfo Hansen (2006), Ariovaldo José Vidal (2000), e Ricardo Piglia (2004).Palavras-chave: Rubem Fonseca. Moldura. Ekphrasis. Conto. (shrink)

This essay is about ekphrasis and the possibility of musical ekphrasis in particular. It shows how ekphrasis came to be bound up with the contest of the arts. By juxtaposing an ancient, description-based view of ekphrasis with a modern work-to-work view, we are led to see the many productive ways in which ekphrasis has engaged the arts, including music, without assuming hard and fast distinctions of medium between the different arts.

The Wallflower Avant-Garde highlights a strain of formalism visible in both modernist literature and contemporary queer studies, drawing attention to an aesthetic that is as quiet and quirky as it is queer. In studies of Gertrude Stein, Djuna Barnes, Richard Bruce Nugent, Frank O'Hara, and John Ashbery, Brian Glavey argues for a recalibrated understanding of the relation between sexuality and the aesthetic, revealing a non-oppositional avant-gardism that opts out of some of the binaristic imperatives that have structured recent debates in (...) queer theory. Refusing to decide between positive and negative affects or to side with either utopian or antisocial ambitions, The Wallflower Avant-Garde explores models of reading and writing about art that remain flexible enough to dig deep even as they gloss the surface.At the heart of this argument is a revaluation of modernist ekphrasis, a mode understood as literature's imitation or description of the visual arts. From the well-wrought urns of the New Critics onward, ekphrasis has figured prominently in the legacy of modernist literary criticism, but a tendency to read its complicated modes of relationality in terms of either autonomy or antagonism has obscured the forms of creative failure and imitation embodied in the desire to confuse poetry for pottery. Attending to mimetic and descriptive strategies without dismissing the aspirations for wholeness and closure that often animate them allows for the recognition that queerness and modernism are intertwined in unexpected and unpredictable ways, revealing new insights into the varieties of abstraction, preterition, and spatial form that stand behind modernism's investment in the aesthetic. (shrink)

The article fits in the new investigation trend about the classical models and sources of the Philagathos of Cerami’s Homilies, with particular focus on anonymous quotations and imitations of the Procopius of Gaza’s sophistic and rhetorical work. One of the most signifiant examples is the description of the Cappella Palatina in Palermo , for which Philagathos bore certainly in mind and adapted, besides other works, the Procopius’s Descriptio horologii. The conclusion is that Philagathos had at his disposal a whole now (...) lost manuscript with the Procopius’s work. (shrink)

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 107 Heft: 1 Seiten: 97-112.

The poet Tony Harrison has created work for the stage and television, and even assumed the role of poet/journalist, writing newspaper reports in verse from war-torn Bosnia. His work is underpinned by a belief in the political nature of the act of writing. He has generally attracted a non-working-class readership; nevertheless, he has never abandoned his quest for a ‘democratic’ poetry. Much of his work has taken the form of a poetry of immediate response to current events. He has also (...) been insistent, at times, on where his poetry should be published. When he wrote ‘Initial Illumination’ for The Guardian, for example, he argued it should not appear in the ‘literary’ section, but on the news pages. Harrison sees himself as a ‘war poet. He uses his position as a public intellectual to engage in a struggle against dominant discourses and ways of seeing and to bring audiences to confront the horror of war. The article focuses in particular on his Gulf War poem, ‘A Cold Coming’, in which he uses strategies such as ekphrasis, to position the reader as a kind of ‘secondary witness’ of a war that had been turned by the media into a distant, anaesthetised spectacle. (shrink)

This paper challenges the general approach to Kierkegaard ’ s engagement with imitation, which privileges a strictly religious reading. Heretofore imitation has been apprehended as a coherent concept shaped within the context of imitatio Christi in the devotio moderna. I locate Kierkegaard ’ s writings in the broader context of mimesis. Analysing particular mimetic structures woven into the text, I show that a plurality of imitative models that are different fromChrist occurs therein. Addressing the distinction between the religious and the (...) aesthetic in Kierkegaard, I inquire into the status of these imitative models. Referring to the term “ Mellembestemmelserne ” and “ ekphrasis ”— the rhetorical de- vice of aesthetics — I show that the other models of imitation exhibit supportive roles to the highest type of prototype (Christ) and therefore question the solely religious rendering of mimesis and the aesthetic confines of Kierkegaard ’ s concept of aesthetics. (shrink)

In recent years, inter-medial studies have attracted increasing attention in arts theory. The notion of 'inter-mediality' presupposes that each established art - such as theatre, painting, and cinema - indicates the existence of a particular medium, which preserves its distinct features in translations from art to art and, especially, in its combinations with others in single works. Nonetheless, this field of research is presupposed already in the traditional studies of 'ekphrasis', which focus on the verbal accounts of nonverbal works (...) of art; and in Wagner's notion of Gesamtkuntswerk. This renewed interest generated new fields of research, such as (a) the likelihood of the arts reflecting common grounds; (b) the necessity of a shared metalanguage; (b) the possibility of inter-medial translation; and (d) the inter-medial coexistence within a single work of art, without hindering the reading, interpreting and experiencing abilities of receivers. In honor of Eli Rozik, Ph.D., professor emeritus, former head of the Department of Theatre Studies, and Dean of the Faculty of Arts, Tel Aviv University, this collection provides overviews of all these theoretical issues, and tackles the contemporary practical questions that arise from attempts to transgress the boundaries between the established disciplines of arts studies. Considering first the theoretical aspects of inter-art, inter-mediality, and nonverbal literacy, Exploring the Common Grounds of the Arts goes on to discuss by means of performance analysis; dialogues between the arts within a single work; and correspondences between visual and auditory stimuli in musical contexts. It concludes with a discussion of practical examples of inter-mediality in religious representations, official processions, and public performances. (shrink)

Die Vielfalt der mittelalterlichen Epik bietet ein fruchtbares Feld für gattungstheoretische Bestimmungen, das bislang in keiner Hinsicht ausgeschöpft ist. Da die mittelalterlichen Poetiken Gattungszuordnungen nicht zwingend festschreiben, bietet sich die Möglichkeit, auf der Basis einer induktiven Poetik mittelalterliche Werke in ihren generischen Verwandschaftsverhältnissen neu zu bestimmen. Entgegen dem Trend der älteren Forschung, Beschreibungspassagen in der mittelalterlichen Erzählliteratur eher negativ zu bewerten, soll in dem vorliegenden Beitrag die Bedeutung der Ekphrasis für Gattungsbestimmungen mittelalterlicher Erzähltexte herausgearbeitet und mit dem Begriff des (...) „ekphrastischen Romans“ ein neuer, auch die Antike und die Neuzeit umfassender Gattungstypus kreiert werden. Wer sich zünftig vorwiegend mit der modernen Literatur befasst, weiß um die gattungsbildende Funktion der Beschreibung im neoavantgardistischen Nouveau Roman, doch ist die generische Relevanz von ekphrastischen Passagen im mittelalterlichen Versroman noch weithin unerforscht und den Mediävisten unbekannt. Dass gerade der Beschreibung von Kunstwerken, auf die in letzter Zeit immer mehr der Begriff der Ekphrasis eingeschränkt wird, eine große poetische Relevanz zukommt, dokumentiert nicht nur ihre häufige Positionierung am Werkeingang oder ihre motivische Verknüpfung mit Passageriten des Protagonisten, sondern auch ihre besondere digressive Stellung im Erzählkontinuum mit komplexen Rahmen- und Binnenstrukturen, vor allem aber ihre für das ganze Werk repräsentative und quasi gattungsgenerierende Funktion als mise en abyme. Zudem sind die Beschreibungen von Kunstwerken in der Erzählliteratur des Hochmittelalters Zeichen einer neuen materiellen Sachkultur sowie symbolisch-diagrammatische Spiegelungen zeitgenössischer Weltbilder. Durch Partizipation an Formen der Visualität und Intermedialität sind die Ekphrasen auch mediengeschichtlich attraktiv und fungieren außerdem als Vehikel nicht nur einer werkimmanenten Poetik, sondern auch einer intrinsischen, Kunst wie auch Technik umgreifenden und universellen Ästhetik. Das hier rekonstruierte Genos des „ekphrastischen Romans“, das sich bis auf Homers,Ilias' zurückverfolgen lässt, die mit der Beschreibung von Achills Schild einen Prototypen liefert, zeigt bei aller Kontinuität einen besonderen Schub im Hochmittelalter, der neben byzantinischen Einflüssen u. a. mit einer ausgebildeten Exkurstheorie sowie Innovationen in der Erzähltechnik zusammenhängt, wie man z. B. aus dem,Erec' Hartmanns von Aue ersehen kann. Der „ekphrastische Roman“ zielt nicht auf einen nur an Aktionen interessierten Leser ab, der im Extremfall Haltepunkte im Erzählfluss überspringt, sondern auf einen Rezipienten, der sich geduldig mit der Dekodierung imaginärer Bildwelten befasst und bereit ist, sich in poetologische und kunstästhetische Reflexionen zu vertiefen, die eine eigene Ebene der Werkdeutung konstituieren. (shrink)

A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the (...) methodology developed by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

The contention of this chapter is that Derrida's writings about the “dessins” (drawings) of Artaud and the “tableaux” (paintings) of Atlan remain trapped within the problems posed by ekphrasis. In addition to any attempt to identify both the place of ekphrasis and its legacy, what also needs to be established, as part of that opening move, is the limit of ekphrasis. Philostratus’ Imagines provide a way into the question of ekphrasis. As has been intimated, ekphrasis (...) understood in the chapter not only as the equation of the work of art with a form of description that depends upon the literary and the rhetorical, but also we must understand that the equation of art and description entails the privilege of meaning – with the result that work and meaning coincide. Derrida's text is extraordinary. It begins with “the dreamer” held by a work, held by its “trait de couleur”. (shrink)