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Статті в журналах з теми "Ekphrastic fiction"
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Tornborg, Emma. "Fakta och fiktion i ekfrastiska representationer av bilder." Tidskrift för litteraturvetenskap 46, no. 1 (January 1, 2016): 51–63. http://dx.doi.org/10.54797/tfl.v46i1.8809.
Повний текст джерелаАнотація:
Fact and Fiction in Ekphrastic Representations
How do we distinguish between fictional and factual texts? Is there an inherent difference between the language used in, for example, a poem, and a text in an art history book? Or is it merely a matter of context? Ekphrastic texts have a special place in discussions about fact versus fiction, since they often (though not always) relate in various ways to existing media products such as paintings, photographs and sculptures, and since they have been traditionally used as substitutes for actually seeing, for example, a work of art.
In this article I investigate ekphrastic poems and factual texts which represent the same art works, in order to discuss the issue of fact and fiction in different kinds of texts.
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Kaya, Nilay. "Ekphrastic Expression of Western Painting and Cultural In-Betweenness in Evliyâ Çelebi’s Seyahatnâme (The Book of Travels)." Culture and Dialogue 10, no. 2 (November 29, 2022): 143–57. http://dx.doi.org/10.1163/24683949-12340118.
Повний текст джерелаАнотація:
Abstract Ekphrasis, a part of the ancient Greek and Roman rhetorical practices, is, in its most basic sense, the verbal expression of a visual object. Since the description of Achilles’ shield in Homer’s Iliad, ekphrasis has been a literary practice used for the portrayal of visual artworks through fiction and poetry, as well as in prose written in history, art criticism and travelogues. Ekphrasis is a convenient literary tool for analysing the author’s treatment of the object depicted. Ekphrastic studies enable the identification of the author’s relationship with objectivity and subjectivity, and the building blocks of the said subjectivity, through literary elements. What kind of fictional language does ekphrasis, which is essentially the act of making the mute object speak, point to, in Evliya Çelebi’s representation? This article will aim to examine the subjective factors, personal taste and cultural positioning that emerge in Evliyâ Çelebi’s writing practice, mainly in his “ekphrastic” narration of the Western paintings that he saw in the Balkans and Vienna, which he describes in great detail in his Seyahatnâme. It is of the author’s opinion that, although Evliyâ Çelebi’s cultural positioning imposed limitations on his aesthetic perception and ekphrastic narration, he had an admiration for the Western art; and his “actual” cultural position manifests itself in an “in-betweenness” in the East-West spiral, which also reflects his unique literary mode.
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Bednarski, Aleksander. "Ekphrastic Insets in Welsh-Language Fiction 1992-2016: An Overview." Lublin Studies in Modern Languages and Literature 44, no. 2 (July 14, 2020): 27. http://dx.doi.org/10.17951/lsmll.2020.44.2.27-39.
Повний текст джерелаАнотація:
<p>Compared with Anglophone literatures, Welsh-language fiction has to date received little attention in the context of the rapidly developing intermedial and interart studies. The purpose of the article is to provide a preliminary mapping of pictorial insets in Welsh-language fiction in the period 1992-2016. The novels considered in the article include some of the milestones in the development of Welsh fiction and provide a representative sample of the literary production from the period in question. The article identifies and lists the sources of ekphrastic insets scattered throughout the texts, grouping them into descriptive ekphrases, references, pictorial models and spatio-contextual ekphrases.</p>
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Гэвин, Полина Ивановна. "ART IN WORDS: EKPHRASTIC REPRESENTATIONS OF PAINTINGS IN THE NOVELS BY D. RUBINA AND M. ATWOOD." Tomsk state pedagogical university bulletin, no. 3(215) (May 24, 2021): 92–101. http://dx.doi.org/10.23951/1609-624x-2021-3-92-101.
Повний текст джерелаАнотація:
Введение. Рассматривается литературная фигура экфрасиса и ее реализация посредством интертекстуальных референций в художественном произведении. Несмотря на относительную «исследовательность» феномена экфрасиса, подавляющее большинство существующих работ фокусируется на передаче значения между вербальным и визуальным медиумом, оставляя в стороне возможную читательскую интерпретацию экфрастического описания и его стилистическое выражение в тексте. Цель – провести лингвистический анализ экфрастических интертекстуальных референций и их возможное влияние на восприятие читателем художественного текста. Материал и методы. Материалом исследования послужили экфрастические отрывки из романа Дины Рубиной «На солнечной стороне улицы» и Маргарет Этвуд «Кошачий глаз» (‘Cat’s Eye’). В основе методологической базы исследования лежат следующие приемы когнитивной поэтики: дихотомия отношений «фигура – фон», модель литературного резонанса, теория нарративного взаимодействия. Результаты и обсуждение. Когнитивно-поэтический анализ экфрастической репрезентации персонажей в художественном тексте показал, что интертекстуальные референции связывают между собой сцены внутри нарратива, придают дополнительное символическое и метафорическое значение произведению искусства, на синтаксическом, семантическом и текстовом уровне имитируют визуальную организацию объекта искусства. Заключение. С помощью приемов когнитивно-поэтического анализа было рассмотрено стилистическое выражение литературной фигуры экфрасиса в художественном тексте. Занимая роль фигуры, персонаж, изображенный на картине, выступает как ярко выраженный аттрактор при воздействии на читательское восприятие. Данное перцептивное воздействие подтверждается типичными семантическими, синтаксическими и стилистическими характеристиками аттракторов, присутствующими в анализируемых отрывках. Сравнение экфрастического описания и соответствующего ему контекста показало параллелизм использованных конструкций, что свидетельствует о схожей организации их фигуро-фоновых отношений. Параллельные конструкции также являются признаком частных интертекстуальных референций, посредством которых объект искусства актуализируется в сознании читателя. Помимо контекстного окружения, интертекстуальные референции способствуют символической реализации персонажа в художественном тексте, дополняя его репрезентацию метафорическими и концептуальными смыслами. Introduction. The present paper examines a literary figure of ekphrasis and its implementation through intertextual references in fiction. Despite how relatively ‘researched’ the phenomenon of ekphrasis is, the overwhelming majority of existing works focuses on the transfer of meaning between the verbal and visual mediums. This approach omits the reader’s possible interpretation of ekphrastic descriptions and their stylistic expression in texts. The aim of the research is to carry out a linguistic analysis of ekphrastic intertextual references and their possible impact on the reader’s perception of a fictional text. Material and methods. The study is based on ekphrastic abstracts from the novels by Dina Rubina ‘On the Sunny Side of the Street’ and Margaret Atwood’s ‘Cat’s Eye’. The research methodology uses the following techniques of cognitive poetics: the figure-ground dichotomy, the model of literary resonance, the theory of narrative interrelation. Results and discussion. The cognitive poetic analysis of the ekphrastic representations of characters has shown: • intertextual references link scenes within a narrative; • intertextual references supply additional symbolic and metaphorical meanings to an artwork; • intertextual references imitate the visual organisation of an art object at the syntactic, semantic and textual levels. Conclusion. Using cognitive poetic methods of linguistic analysis, we examined stylistic expression of ekphrasis in a literary text. Taking the role of a figure, the character depicted in the painting acts as a pronounced attractor when influencing the reader’s perception. This perceptual influence is confirmed by the typical semantic, syntactic and stylistic characteristics of attractors presented in the analysed passages. Comparison of the ekphrastic descriptions and the corresponding context revealed the parallelism of the used constructions, which indicates a similar organisation of their figure-background relations. Parallelism can be also marked as specific intertextual references, through which an art object is actualised in the reader’s mind. In addition to the contextual environment, intertextual references contribute to the symbolic realisation of a character in a literary text, complementing their representation with metaphorical and conceptual meanings.
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Karpukhina, T. P. "AESTHETIC ASPECTS OF EKPHRASIS IN GUY DE MAUPASSANT’S SHORT STORY «UN PORTRAIT» («A PORTRAIT»)." Bulletin of Kemerovo State University, no. 1 (April 25, 2018): 193–200. http://dx.doi.org/10.21603/2078-8975-2018-1-193-200.
Повний текст джерелаАнотація:
The current article features the phenomenon of ekphrasis, i.e. a verbal representation of a work of fine arts in fiction, as presented in Guy de Maupassant’s short story "Un portrait". Aesthetic aspects of ekphrasis alongside the linguistic means of its expression are subjected to analysis. The leitmotif of the short story is the thematic motive of an enigmatic, inexplicable mystery that is unraveled at the end of the story. The firstperson narration begins with the description of a gentleman whose indescribable charm fascinates everyone he meets. Being invited to his house, the narrator notices a portrait of an extremely charming lady that happens to be the host’s mother, who died very young. That is how the mystery of the irresistible and captivating charm of the gentleman is solved. The portrait turns out to be a doppelganger of the host, and thus the archetypal ekphrastic motif of an image coming to life is realized. Both the main character of the story as a human being in the flesh and the image in the picture as a still, non-living work of art, manifest themselves as equally significant aesthetic objects, united by one common inherent quality, i.e. the magic and charm of beauty. The beauty does not ensue from the well-bred manners of the son or from a spell-binding expression of the mother’s eyes; the beauty lies in their capability of being absolutely natural, in harmony with their own selves. Aesthetic aspects of the ekphrastic description find their expression in a variety of linguistic means (epithets, metaphor, personification, simile, syntactic parallelism, etc.). Particular significance belongs to a big number of lexical units pertaining to visual perception, which is a specific feature of the archetypal scheme of ekphrasis. Equally important are the words and phrases characterizing the vitality of the image portrayed.
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Casteel, Sarah Phillips. "David Dabydeen’s Hogarth: Blacks, Jews, and Postcolonial Ekphrasis." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 1 (December 16, 2015): 117–33. http://dx.doi.org/10.1017/pli.2015.27.
Повний текст джерелаАнотація:
Eighteenth-century satirical artist William Hogarth figures centrally in Guyanese writer David Dabydeen’s ekphrastic postcolonial fiction. In particular, Dabydeen’s novels A Harlot’s Progress and Johnson’s Dictionary invoke plate 2 of Hogarth’s 1732 series A Harlot’s Progress, which depicts the encounter of a cuckolded Jewish merchant, his mistress, and a turbaned slave boy.In this article, I argue that Dabydeen’s strategy of introducing visual intertexts into his fiction encourages a comparative reading of the representational regimes that historically have shaped popular perceptions of blacks and Jews. Situating Dabydeen’s Hogarth novels as part of a larger tradition in postwar Caribbean writing of advancing an identificatory reading of Jewishness, I examine how Dabydeen’s novels illustrate the need to broaden discussions of the relationship between postcolonial and Jewish studies beyond the question of Holocaust memory.
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Reis, Amândio Pereira. "Os Filmes (D)escritos de Ana Teresa Pereira: Nightmare, de Alfred Hitchcock, e The Double, de David Cronenberg." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (March 28, 2014): 25–38. http://dx.doi.org/10.14195/2182-8830_1-2_2.
Повний текст джерелаАнотація:
A partir de uma comparação inicial com um texto ecfrástico de Calístrato (séc. III), e apoiando-nos em seguida em vários estudos sobre a écfrase como prática literária, desde a Antiguidade até ao presente, e até à sua aceitação enquanto género literário intermedial, é nosso objetivo refletir sobre dois contos particulares de Ana Teresa Pereira que encenam a apresentação de filmes inexistentes de Hitchcock e Cronenberg. Para tal, passaremos tanto por um leque de problemas associados à descrição ecfrástica – tais como a dialética entre realidade e ficção, verdade e falsidade, e imaginação e leitura – e às (im)possibilidades da representação por palavras e/ou imagens, como por um conjunto de questões levantadas pela específica relação inter(/trans)medial que os textos de A. T. Pereira estabelecem entre a Literatura e o Cinema. Atentaremos ainda ao conceito de “filme escrito” (Pavle Levi) como uma hipótese, entre outras, de identificação genológica destas narrativas.Abstract Starting with a comparative reading of an ekphrastic text by Callistratus (3rd century AD) and taking support from various studies on ekphrasis as a literary practice, from antiquity to present times until its acceptance as an intermedial literary genre, it is our goal to analyze two short stories by Ana Teresa Pereira which invent non-existent films by Hitchcock and Cronenberg. Therefore, we will have to confront a range of problems associated with ekphrastic description – the dialectic between reality and fiction; truth and falsity; imagination and reading – and with the (im)possibilities of representation through image and/or words, including a set of questions posed by the specific transmedial relation that A. T. Pereira’s texts establish between Literature and Cinema. We will also take into account the concept of Pavle Levi’s “written film” as one possibility, among others, of genre identification for these narratives. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_2
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Rogerson, Anne. "Dazzling Likeness: Seeing Ekphrasis in Aeneid 10." Ramus 31, no. 1-2 (2002): 51–72. http://dx.doi.org/10.1017/s0048671x00001363.
Повний текст джерелаАнотація:
What, exactly, identifies the ekphrastic at work? Some basic definitive properties can be agreed: ekphrasis is a descriptive trope that brings what it describes vividly before the imaginative gaze of its audience. It is through its vivid evocation of a scene or object unseen to this audience that the ekphrasis fulfils its purpose, and makes an emotional impact upon them. The affective power of ekphrasis thus draws its audience into the fictional world of its narrative, blurring the boundaries necessarily erected by its verbal frame, while at the same time the focus on crafted objects that we often see in ekphraseis (particularly in those on which scholars have predominantly chosen to concentrate)—and the break that an ekphrasis can create when it is interposed in a continuing narrative—serve to highlight the very createdness of this world.So ekphrasis is on the face of it a well-defined literary figure, easily recognisable both by its intrinsic attributes and by its effects. Nevertheless the boundaries of ekphrasis are not as clearly defined as the summary above might suggest. Ekphraseis of art objects have commanded the most scholarly attention: they allow for discussion of the fashioning of the text as well as its function and they conform to modern understandings of what an ekphrasis looks like. But defined in classical terms, ekphrasis covers a far broader descriptive territory than does verbal representation of representative art alone and can include, as well as descriptions of objets d'art, descriptions of battles, of cities, of persons, places, times and events, of plants and animals, and of festivals…
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Guerini, Andreia, and Antonia Sales. "A representação das artes nos contos de Clarice Lispector." Revista Épicas E4, no. 2021 (March 31, 2021): 27–39. http://dx.doi.org/10.47044/2527-080x.2021vne4.2739.
Повний текст джерелаАнотація:
Clarice Lispector is a multifaceted writer, who excelled in narrative forms. Novels, short stories and chronicles are some of the modalities used by the skilled author. Based mainly on the considerations of Oliveira (2019) on art in the fiction of Clarice Lispector and the “pictorial description”, proposed by Louvel (2006), this article aims to present and analyze the presence of the arts in her stories, published in Todos os Contos (2016), organized by Benjamin Moser. The question that permeates the discussion is: how do the arts appear and how are they represented in Clarice Lispector's short stories? And how does it materialize in stylistic procedures? After analysing the selected corpus, we can say that Clarice Lispector uses procedures such as ekphrastic description, synesthesia and hypotypes to highlight the most varied artistic manifestations through countless references to music, dance, cinema, painting, sculpture, among others, to point that these elements are (co)adjuvant to the singular Clarician narrative.
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Kravetz, Rachel. "The Radiant Tableaux of Daniel Deronda." Nineteenth-Century Literature 73, no. 1 (June 1, 2018): 68–93. http://dx.doi.org/10.1525/ncl.2018.73.1.68.
Повний текст джерелаАнотація:
Rachel Kravetz, “The Radiant Tableaux of Daniel Deronda” (pp. 68–93) This essay argues that the ekphrastic images in Daniel Deronda (1876) mark a shift in George Eliot’s thought away from a historical to a prophetic national mode. Taking as a point of departure the critical commonplace that Eliot’s novel has two largely separate spheres, a degenerate English world and a visionary Jewish realm, I show that each has a painterly model. The grounds of stately English homes represent a false Arcadia in passages that allude to the genre of landscape known as “ideal.” While the glowing river landscapes that frame Jewish characters conjure the extrasensory, they have a material correlative in the paintings of J.M.W. Turner. In my reading, these vivid scenes comprise a response to the vexed status of the nation that issues from philosophical empiricism. The nation is too large a body to be perceived directly or depicted fully in fiction. Eliot’s sunset landscapes form a locus for propositions about how the mind may reach beyond experience. With images of arched bridges, she transmutes an empiricist metaphor for the mental process of prediction through inference into a symbol for prophecy. The gold skies light up the distance, directing the reader to conceive a national ideal Eliot cannot locate or provide: ultimately, both empiricism and idealism prove insufficient to her fictional project, nonetheless brilliant, of national reanimation.
Дисертації з теми "Ekphrastic fiction"
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Manion, Deborah Maria. "The ekphrastic fantastic: gazing at magic portraits in Victorian fiction." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/1360.
Повний текст джерелаАнотація:
While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction.
Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.
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Rader, Overman Linda. "Pictures on the wall of my life : photographs to life writing to fiction, an ekphrastic journey." Thesis, Lancaster University, 2013. http://eprints.lancs.ac.uk/71533/.
Повний текст джерелаАнотація:
This study investigates the practice of writing a novel with its starting point in family photographs. It consists of the novel itself in latest draft form as well as a theoretical commentary on the writing of it. The particular focus for discussion is how the visual informs the written text and how the visual and verbal together become ‘imagetext’.1 The novel is narrated in the first person by Lily Adams who learns from the many ancestral portraits in black and white that line the halls of her childhood home that what they embody is not visually representative of a past she has been encouraged to believe in, but rather of one she is now forced to question as the pictures speak to her, in their own voices, of a world re-focused through their own lens. A critical commentary follows in three chapters: a chapter on ‘punctum’ discusses motivation and photography as a technical and creative driver for this work, and the following one on ‘ekphrasis’ makes literary connections between two main drafts, one in third person (see Appendix) and the other (latest) in first person, looking in detail at the way ‘ekphrasis’ or visual to verbal translation has developed in these two versions. The growth of the idea from earlier beginnings is traced and related to the notion of ekphrasis as it has shaped the later drafts. The concluding chapter on ‘ekphrastic realism’ draws these strands together by making an attempt to situate my novel within the canonical intersection of ekphrasis and magical realism. These make a contribution to an understanding of the concept of ekphrasis by way of ekphrastic writing, known merely as an obscure literary genre.
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Gorbina, Nataliya [Verfasser], Christiane Maria [Akademischer Betreuer] Binder, and Gerold [Gutachter] Sedlmayr. "The ekphrastic gaze in British postmodern fiction / Nataliya Gorbina ; Gutachter: Gerold Sedlmayr ; Betreuer: Christiane Maria Binder." Dortmund : Universitätsbibliothek Dortmund, 2020. http://d-nb.info/1214887643/34.
Повний текст джерела
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Dion, Damien. "Récits, fictions, descriptions : l'ekphrasis comme pratique artistique." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H315.
Повний текст джерелаАнотація:
L’ekphrasis est traditionnellement définie comme la description verbale d’un objet artistique réel ou fictif. Elle est ainsi représentative d’un phénomène d’interférence entre le factuel et le fictionnel, mais également entre le verbal et le visuel. C’est avec le développement de démarches artistiques qui émergent dans les années 1960 que va s’opérer un véritable tournant linguistique et narratif de l’art où l’œuvre, sa documentation, son commentaire ou son récit vont se croiser, se fondre parfois, pour voir émerger des entités hybrides, parfois ambiguës. Par ailleurs, les stratégies de dis-cours, de commentaire et de récit par les artistes sur leur propre travail participent d’une volonté de réappropriation de l’artiste vis-à-vis, notamment, du critique d’art. C’est à partir des années 1950 qu’émergent ce que Jean-Marc Poinsot nomme des récits autorisés, c’est-à-dire ces discours dont les artistes accompagnent leurs prestations esthétiques, formes de commentaires par l’artiste, désireux de donner lui-même les clés de lecture de sa propre œuvre. Le discours sur l’art tend ainsi à se confondre avec un discours de l’art, au point d’être parfois intégré à la pratique elle-même. Repenser l’ekphrasis à l’aune de ces notions permet d’étudier des pratiques artistiques qui brouillent volontairement les pistes entre art, paratexte et contexte et génèrent des fictions. Cette question de la fiction artistique sera ainsi développée, notamment dans sa capacité à se disséminer dans le réel par le recours à la métalepse, une figure de style qui transgresse la frontière mouvante entre deux mondes : celui où l’on raconte et celui que l’on raconteEkphrasis is traditionally defined as the verbal description of a real or fictional artistic object. Thus it is representative of a phenomenon of interference between the factual and the fictional, but also between the verbal and the visual. It is in particular with the development of artistic approaches that emerge in the 1960s that a veritable linguistic and narrative turn of art will take place where the work, its documentation, its commentary or its narrative will cross, melt together sometimes, to see emerging hybrid entities, sometimes ambiguous. Moreover, the strategies of discourse, commentary and narrative by the artists on their own work are part of an artist’s desire to reappropriate the discourse on art. It is from the 1950s that what Jean-Marc Poinsot calls authorized narratives, that is to say, these dis-courses whose artists accompany their aesthetic performances, forms of comments by the artist, wish to give himself the keys to reading his own work. The discourse on art thus tends to be confused with a discourse of art, to the point of being sometimes integrated into the practice itself. Rethinking ekphrasis by means of these notions allows us to study artistic practices that deliberately blur the lines between art, paratext and context, and generate fictions. Thus, this question of artistic fiction will be developed, particularly in its capacity to spread itself in the real through the use of metalepse, a figure of speech that transgresses the moving boundary between two worlds: the one where we tell and the one that we tell
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Nedelcu, Irina. "'2' : a novel, and, Words & pictures : the miracle of artistic lending and borrowing." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/17906.
Повний текст джерелаАнотація:
December 1989, Romania – a culture steeped in secrecy-fuelled paranoia is reflected in the family of six-year-old Adam Stan, whose father is missing and no one concedes to even talk about it. In the first of two sections of 2, a novel, through the eyes of Adam the child, the narrative explores the fall of Ceaușescu's regime and the incandescent bouts of hope brought on by the first Romanian democratic summer, but overshadowed by the presence of an absent father. Adam keenly experiences the joys and injustices of private and public life in both urban and rural Romanian landscapes, before he is forced to emigrate with his mother to the United States. The latter half of the novel sees the adult Adam return to his native Romania after an absence of over two decades, having been reunited with his father and fully assimilated into American life. Adam’s first impressions are of a country still in social and political turmoil, but his Romanian senses are dulled, his outlook cynical, his father’s prohibitive voice never far from his mind. However, the seemingly new scenery and the people he meets end up exposing forbidden memories which prompt Adam’s curiosity for coming to terms with his family’s past. Dualities construct the framework of Adam’s journey: innocence and experience, child- and adulthood, nationhood and otherness, (post)communism and capitalism, personal and national trauma, culture and identity. 2, a novel is a story about family, displacement, language, but most of all about finding a sense of self despite the ambivalent responsibility that comes with inheriting one’s history.
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Romagnino, Roberto. "Origine, redéfinition, statut de l’ekphrasis romanesque au XVIIe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040201.
Повний текст джерелаАнотація:
Notre thèse se propose comme objectif la définition et l’étude du traitement de l’ekphrasis dans la fiction narrative française en prose entre 1585 et 1660. L’ekphrasis y est comprise dans le sens ancien et rhétorique d’un discours doté d’évidence (enargeia), mettant son objet devant les yeux du lecteur/auditeur. En s’appuyant sur une rigoureuse enquête philologique, le présent travail vise d’abord à définir l’origine rhétorique de la notion d’ekphrasis et de tracer sa complexe cartographie sémantique entre l’Antiquité et la première modernité. L’enquête s’efforce ensuite de montrer l’attitude – de docilité ou de rébellion – de l’ekphrasis romanesque par rapport aux préceptes antiques et contemporains, par la mise en lumière des singularités d’écriture qui différencient la pratique des romanciers. Enfin, l’étude s’attache à dégager les effets que l’ekphrasis et plus en général le discours évident, dont les sources mettent en lumière l’étroit lien avec les passions, sont censés susciter chez le lecteurThe aim of this thesis is the definition and study of the treatment of ekphrasis in fictional prose narrative in French between 1585 and 1660. Ekphrasis is considered here in its ancient and rhetorical sense of a discourse having the quality of enargeia – that is, one that places its object before the eyes of the reader/listener.Based on a rigorous philological investigation, this paper aims first at defining the rhetorical origin of the concept of ekphrasis, and its complex semantic mapping between Antiquity and the early modern period.This research attempts then to shed light on the attitude (docility or rebellion) of fictional ekphrasis toward the ancient and contemporary precepts, by highlighting the singularities of writing that distinguish the practice of novelists.Finally, this study focuses on identifying the effects that ekphrasis, and more generally the figures of enargeia – of which the sources highlight the close link with the passions – are expected to arouse in the reader
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Kosinec, Bess W. "Predictability of Spines." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1306961660.
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Limmer, Katherine Anne. "Heroes and heels : investigating the star enactments of Charlton Heston." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3524.
Повний текст джерелаАнотація:
This investigation undertakes to re-centre the figure of the film star and their film appearances in the field of star study. To this end it uses Charlton Heston as its focus in a re-appraisal of existing methods of accounting for the star phenomenon in cinema. It also concomitantly re-assesses existing accounts of the significance of Charlton Heston as a film star. This thesis posits a robust method for identifying the specificities of the star’s contribution to a film’s meanings and effects across the body of their work by drawing on Andrew Britton’s understanding of the ‘star enactment’. Present approaches through which to engage with the details of a star’s performance are considered in detail and the weaknesses of those that seek to impose external schemas onto such discussions are highlighted. The difficulties with approaches that attempt to account for the star as a signifying phenomenon through the concepts of acting and performance are also considered. Existing methods which may allow for a fruitful investigation into the significance of the star enactment, such as the commutation test, are re- formulated in this study and their benefits are demonstrated through their application to key Heston star enactments. These new understandings are also made possible through the application of an ‘ekphrastic’ method of rendering film moments. Previous readings of Heston’s star figure are also re- appraised, and their conclusions questioned, through closer reference to the evidence of details from films. The fruitfulness of this method for analysing and commenting on film is thus demonstrated and Heston’s relationship to genre and its effect on performance style is also considered in order to be able to confidently assert the specific features of the Heston aesthetic.
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Minucci, Andrea. "“There’s More to Life ThanSitting There SimplyInterfacing” : David Foster Wallace and his Reader in a Literature afterPostmodernism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169390.
Повний текст джерелаАнотація:
David Foster Wallace felt that literature was at a historical crossroad, and thatpostmodernism had passed the point which it could still be considered a'revolutionary' cultural phenomenon. He felt that the capitalistic machinery of TVand advertisement had absorbed the postmodernist techniques of pastiche,deconstruction and rejection of a distinction between high and low culturalmodels, to a point where there was no longer a difference between reality and itsown representation. Something that represented a problem for both youngnovelists and readers.This thesis analyses Infinite Jest as a response to this very problem, trying tounderstand in which way Wallace wanted to get over postmodernism, establishinga new kind of literature that highlights the artificiality of reality, by using differenttools than postmodernism. Cross-referencing media and literary studies, my thesisargues that Infinite Jest is a novel that emphasizes the fact that it is a construct. Ishow how the book acknowledges, and gives value to the subjectivity of everyhuman experience, but still stressing the idea that all the data that the reader isreceiving is and will always be heavily mediated information. Therefore, I showhow Wallace uses his characters as if they were human recording devices, creatingin this way a book that is some sort of hybrid between literature and TV.Furthermore, I explain how, by means of narrative devices (such as a disruptiveand incomplete plot, hundreds of endnotes), Wallace wanted to restore thecommunicative function of a text, making himself sure that the reader is invited toactively cooperate in the formation of the novel's meaning, ultimately meeting,and engaging into a dialogue with the author's consciousness in the novel'slanguage, breaking that state of self-consciousness and isolation into which thereader has been condemned by postmodernism and capitalism. Showing that“There's more to life than sitting there simply interfacing”1 David Foster Wallace; Infinite Jest; media studies; Postmodernism; Image-fiction Television; intermediality; transmediality; narratology; heteroglossia. 1 David F. Wallce, Infinite Jest, (Back Bay Books 2016), p. 14.
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André, Laury Nuria. "Formes et fonctions du paysage dans l'épopée hellénistique et tardive." Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0779.
Повний текст джерелаАнотація:
Notre travail se propose d'analyser les formes et les fonctions que peut revêtir le paysage dans un corpus de textes épiques posthomériques. Les Argonautiques d'Apollonios de Rhodes et leur réécriture tardive anonyme, les Argonautiques Orphiques, les Posthomériques de Quintus de Smyrne, la Prise d'Ilion de Triphiodore et les Dionysiaques de Nonnos de Panopolis nous offrent un champ d’investigation fructueux pour analyser les représentations littéraires du paysage de manière transhistorique. Nos textes opèrent une première transformation du paysage épique archaïque qui est d'abord l'image du monde avec laquelle il se confond (adéquation posée entre bouclier, île et monde) en détachant de cette équation le paysage pour lui conférer une plus grande autonomie. Le monde devient une mosaïque de paysages autonomes qui gagnent en épaisseur du fait qu'ils se chargent d'une dimension identitaire. La polymorphie du paysage donne alors sa texture mouvante au monde des Grecs : c'est la dimension plastique et artiste que le texte de poésie épique emprunte pour mettre en mots ces images du monde qui révèle les formes du paysage épique. Une diversité de schèmes paysagers émergent et ouvre l'intertexte littéraire à l'hétérogénéité des formes artistiques. De cette fusion de processus et de formes naît une singularité bien antique de perception et de traduction du paysage : la merveille. Paysage et merveille s'entremêlent étroitement au point de se substituer l'un à l'autre : c'est là une définition possible du paysage antique à partir de la période hellénistique. Mais le paysage ainsi identifié et construit appartient aussi au monde dont il contribue à imager la forme. Il est clairement localisé d'un point de vue géographique : image vivante d'une partie du monde il lui offre son identité par ses caractéristiques topiques singulières. Il est une forme d'identification régionale et confine au vernaculaire. Le paysage devient un instrument de promotion intellectuelle et culturelle. Entre diversité formelle et singularité locale, le paysage voyage entre fiction et réel : ses modalités de construction empruntent au littéraire et à l'artistique et s'étendent ensuite grandeur nature. Le genre épique, marqué par l'intertextualité innovante, fait du paysage l'image même du processus de transposition et d'adaptation. Manifestation de l'exercice d'une subjectivité antique singulière puis collective, instrument de mesure du travail de l'imaginaire à l’œuvre dans les processus complexes de réception littéraire et culturelle, le paysage antique entre transmission et invention, s'ouvre à l'expérience quotidienne et sociale. Son existence antique est effectiveThe undertaking of this work is to analyze the forms and functions that the landscape can take in a corpus of posthomeric epic texts. The Argonautica of Apollonius of Rhodes and its late anonymous rewriting The Orphic Argonautica, the Posthomerica of Quintus Smyrnaeus, the Ilioupersis of Triphiodorus, and The Dionysiaca of Nonnus Panopolitanus provide us with a fruitful field of investigation for the analysis of the literary representations of the landscape as transhistorical. Firstly, our texts operate one transformation of the archaic epic landscape that is first the image of the world with which it merges (the conformity placed between shield, island, and world) by separating the landscape from this equation and giving it greater autonomy. The world is a mosaic of autonomous landscapes that gain texture as they take on a dimension of identity. The polymorphism of the landscape then gives its moving texture to the world of the ancient Greeks : the plastic and artist dimension is borrowed by the Epic text to put into words the images of the world, which reveal epic landforms. A variety of landscape patterns emerges and opens the literary intertext to the heterogeneity of artistic forms. From this fusion of process and forms, a singularity arises, a singularity particularly antique of the perception and the translation of the landscape : wonder. Landscape and wonder mingle so narrowly as to substitute one for the other : this is a possible definition of the ancient landscape from the Hellenistic period. But the landscape as thus identified and constructed also belongs to the world the image of which it contributes to form. It is clearly localized in a geographical perspective : the landscape becomes a vivid picture of the world and the former offers the latter its identity by its unique topical characteristics. It is a form of regional identification and it is sometimes confined to the vernacular. The landscape becomes an instrument for intellectual and cultural promotion. Between formal diversity and local singularity, the landscape travels between fiction and reality : its construction methods borrow from the literary and artistic and then extend to nature. The epic genre, characterised by innovative intertextuality, makes the landscape the image of the process of transposition and adaptation. As a manifestation of the exercise of a singular and then a collective ancient subjectivity, the landscape is an instrument for measuring the unfolding of the imagination at work in the complex process of literary reception and cultural transmission ; the ancient landscape between transmission and invention, opens itself up to the everyday and social experience. Its ancient existence is effective
Книги з теми "Ekphrastic fiction"
1
Williams, Susan S. Confounding images: Photography and portraiture in antebellum American fiction. Philadelphia: University of Pennsylvania Press, 1997.
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2
Labarthe-Postel, Judith. Littérature et peinture dans le roman moderne: Une rhétorique de la vision. Paris: L'Harmattan, 2002.
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3
Labarthe-Postel, Judith. Littérature et peinture dans le roman moderne: Une rhétorique de la vision. Paris: Harmattan, 2002.
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4
Janée J. Baugher. Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction. McFarland & Company, Incorporated Publishers, 2020.
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5
Clüver, Claus. Ekphrasis and Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.26.
Повний текст джерелаАнотація:
In discussing word-and-image interactions, ekphrasis and adaptation are frequently cited as major instances of intermedial transposition. Ekphrasis, redefined as “the verbal representation of real or fictive configurations composed in a non-kinetic visual medium,” can occur in literary and non-literary texts and represent two- and three-dimensional images. Some ekphrastic texts can be read as fully developed intermedial translations; others may render readers’ encounters with visual images that the text does not actually transpose at all. Ekphrasis is a descriptive monomedial mode of intermedial reference. In contrast, adaptations incorporate transmedial elements of the source texts transposed into a new medium. Verbal texts are most frequently adapted to plurimedial media, but also to such mixed-media forms as the comic book. Novelizations of films or videogames exemplify adaptation to the verbal medium. More common is the adaptation to literary texts of structural devices employed in other media, as in the musicalization of fiction.
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Fictional Artworks: Literary Ekphrasis and the Invention of Images. Mimesis Edizioni, 2017.
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Photographic Ekphrasis in Cuban-American Fiction: Missing Pictures and Imagining Loss and Nostalgia. BRILL, 2018.
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8
Bilmes, Leonid. Ekphrasis, Memory and Narrative after Proust: Prose Pictures and Fictional Recollection. Bloomsbury Publishing Plc, 2023.
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Bilmes, Leonid. Ekphrasis, Memory and Narrative after Proust: Prose Pictures and Fictional Recollection. Bloomsbury Publishing Plc, 2023.
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Williams, Susan S. Confounding Images: Photography and Portraiture in Antebellum American Fiction. University of Pennsylvania Press, 2016.
Знайти повний текст джерелаЧастини книг з теми "Ekphrastic fiction"
1
King, Edward. "Ekphrastic Anxiety in Virtual Brazil: Photographing Japan in the Fiction of Alberto Renault." In Virtual Orientalism in Brazilian Culture, 73–95. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137462190_4.
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Howell, Naomi. "Literary Tombs and Archaeological Knowledge in the Twelfth-Century ‘Romances of Antiquity’." In Bioarchaeology and Social Theory, 71–96. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-03956-0_3.
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AbstractThis chapter explores intertextual and intermedial encounters between imaginative literature and archaeological knowledge in Western Europe in the second half of the twelfth century. Several of the popular ‘romans d’antiquités’ from this period, such as the anonymous Roman d’Eneas (c. 1160), Benoît de Sainte-Maure’s Roman de Troie (c. 1165), and Heinrich von Veldeke’s Eneit (1170–1788), feature elaborate ekphrastic descriptions of the tombs of legendary heroes and warriors. Although the romances of antiquity are works of fiction, their descriptions of ancient burial practices reflect the influence of written accounts of actual tomb openings and exhumations in the preceding century. Thus, the description of the burial of Pallas in the Roman d’Eneas is partly modeled on the chronicler William of Malmesbury’s account of the discovery of the ‘real’ tomb of Pallas in Rome, c. 1045. Similarly, in the Roman de Troie, the tomb of Hector with its distinctive enthroned burial is based in part on accounts of the opening of the tomb of Charlemagne by Otto III in the year 1000. Reading these romances alongside their archaeological intertexts sheds new light on the complex historical awareness of these literary works and the interpretative communities that received them.
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Bruhn, Jørgen. "From Reference to Deferment: Ekphrasis, Authority, and Fiction in Chrétien de Troyes." In Ritus et Artes, 81–102. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.ritus-eb.3.951.
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"‘Escribieron en mi memoria’: Ekphrasis in the Pastoral Fiction of New Spain." In Ekphrastic Image-making in Early Modern Europe, 1500–1700, 789–807. BRILL, 2021. http://dx.doi.org/10.1163/9789004462069_022.
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"9/11 as Memento Mori: Still-Life and Image in Don Delillo’s Ekphrastic Fiction." In Radical Planes? 9/11 and Patterns of Continuity, 200–218. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004324220_012.
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"The Ekphrastic Evocation of Real-ity and the Modernist Dismantling of Pictorial Frames in Fiction." In Relational Designs in Literature and the Arts, 267–78. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401208567_022.
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"On gazers’ encounters with visual art: ekphrasis, readers, ‘iconotexts’1." In Ekphrastic encounters, edited by Claus Clüver, 237–56. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526125798.003.0013.
Повний текст джерелаАнотація:
This chapter defines ekphrasis concisely as ‘the verbal representation of real or fictive configurations composed in a non-kinetic visual medium’. It rejects narrower definitions that exclude texts on non-representational visual configurations, including architecture, or restrict the discourse to literary texts representing works of art. But with its emphasis on the text the concise definition unduly reinforces the consideration of ekphrasis as a form of ‘intermedial transposition’ in contemporary discourse on intermedial relations. An ekphrastic text should be primarily approached as the record of a viewer’s interpretive encounter with a non-kinetic visual configuration, which may not actually contain anything that has been ‘transposed’ from the image. This viewer may be the persona of a poem, a figure in a prose narrative, or an art critic. It is the reader’s task to construct these viewers in the interpretation of any ekphrastic text. But the role of the reader has not received much attention. This includes the question of the immediate mental reception of ekphrastic texts. The critical construct of ‘iconotexts’, suggesting that such verbal texts spontaneously trigger a mental visual image for the informed reader, is problematic, and even in a more general sense the term may be of limited critical use.
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Swensen, Cole. "The Ekphrastic O." In Fictions of Art History, 162–72. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300192148-011.
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"The Poetics of Ekphrasis: Fiction, Illusion and Meta-ekphrasis." In Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice, 167–92. Routledge, 2016. http://dx.doi.org/10.4324/9781315578996-8.
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"Rewriting History in Female Fiction." In Photographic Ekphrasis in Cuban-American Fiction, 103–38. Brill | Rodopi, 2018. http://dx.doi.org/10.1163/9789004366381_005.
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