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1
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.
2
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.
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Racolța. "When the Devil Tells the Story: Ekphrastic Detective Fiction in Orhan Pamuk's Novel My Name is Red." Journal of the Ottoman and Turkish Studies Association 7, no. 1 (2020): 227. http://dx.doi.org/10.2979/jottturstuass.7.1.30.
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Almgren White, Anette. "Den levandegjorda statyn." Tidskrift för litteraturvetenskap 44, no. 2 (January 1, 2014): 35–48. http://dx.doi.org/10.54797/tfl.v44i2.10513.
Повний текст джерелаАнотація:
The Animated Statue. An Intermedial Analysis of Statue Ekphraseis in Picture Books
This article examines the animation of statues in three Scandinavian picture books: Göran och draken (2002) by Ulf Stark and Anna Höglund, Hva skal vi gøre med lille Jill? (1976) by Fam Ekman and Malte möter Ängel en majkväll på Millesgården (2001) by Maria Hellstadius Wiberg and Karin Södergren. The transformation of humans from organic to inorganic matter is part of an abundant mythopoeia, which calls for a closer examination of the statue motif in children’s literature. This article examines the statue motif, aiming to shed light on the animated statue that children’s books with its dual audience can address. The modern western picturebook, with its strong affinity to the visual arts, is especially pertinent to this area of inquiry. This article employs an intermedial perspective in order to clarify how the animation of statues differs from that of toys. In contrast to a toy, a statue is a representation and therefore an index for something absent or alienated. The statue is a transformation, more precisely an ekphrasis (Bruhn 2000). This study therefore utilizes the differential model of Robillard (2010), designed to mark different medial relations between the ekphrasis and the plastic object, in order to uncover particular relations and the way in which they suggest associations to statue-ekphrasis. This analysis shows that animation is an artistic device relying on intermedial connections to depict conditions of mix-up, confusion, metamorphosis and reverie. The concept of a magic space is also addressed. On one hand, animation suggests art’s imaginative ability to enrich and breathe life into representations. On the other hand, statue-ekphrasis that brings forth the Verfremdungseffekt illustrates and raises awareness of the complex relation between fiction and nonfiction, life and death.
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Deaca, Mircea Valeriu. "Science fiction films as gedanken experiments." Ekphrasis. Images, Cinema, Theory, Media 17, no. 1 (June 30, 2017): 99–118. http://dx.doi.org/10.24193/ekphrasis.17.7.
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Zeitlin, Froma I. "FIGURE: EKPHRASIS." Greece and Rome 60, no. 1 (March 12, 2013): 17–31. http://dx.doi.org/10.1017/s0017383512000241.
Повний текст джерелаАнотація:
Ekphrasis is a slippery topic. Although included in this volume as a rhetorical figure (or figure of speech), its uses and functions far exceed this single classification. Whether defined as a rhetorical exercise, a literary genre (or mode), a narrative digression, a species of description, or a poetic (even metapoetic or meta-representational) technique, the properties associated with ancient ekphrasis are not in doubt. First and foremost are the qualities of enargeia (vividness), sapheneia (clarity), and phantasia (mental image), which, taken together, aim to turn listeners (or readers) into viewers and to evoke an emotional response through an appeal to the immediacy of an imagined presence. Yet, beyond this brief definition, the word ‘ekphrasis’ immediately ushers us into a whole set of questions regarding its intermedial status in a potential contest between verbal and visual representations, the uses of mimesis with regard to verisimilitude (reality–illusion; truth–fiction), and its cognitive, psychological, and mnemonic values in the cultural expectations of its era. It would not be hyperbole to suggest that no other rhetorical term has aroused such interest in recent years among classicists and non-classicists alike, involving aesthetic considerations, theories of vision, modes of viewing, mental impressions, and the complex relationships between word and image.
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Hetman, Jarosław. "Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction." Lublin Studies in Modern Languages and Literature 44, no. 2 (July 14, 2020): 15. http://dx.doi.org/10.17951/lsmll.2020.44.2.15-25.
Повний текст джерелаАнотація:
<p>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 20<sup>th</sup> 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 <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>
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Zhulkova, Karina. "INTERMEDIAL DIALOGUE BETWEEN LITERATURE AND PAINTING IN THE WORKS BY V.V. NABOKOV." RZ-Literaturovedenie, no. 2 (2021): 52–61. http://dx.doi.org/10.31249/lit/2021.02.04.
Повний текст джерелаАнотація:
The review focuses on the intermedial dialogue between literature and painting in Nabokov’s Russian-language writings. It shows how ekphrasis, pseudoekphrasis and painting techniques create a unique poetics of visualizing philosophical ideas in Nabokov’s works and thus increase possibilities of the language of fiction.
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김영민. "The Ethics of Ekphrasis in the 21st Century American Fiction." Journal of English Language and Literature 61, no. 4 (December 2015): 577–93. http://dx.doi.org/10.15794/jell.2015.61.4.003.
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Simuț, Andrei. "Contemporary Representations of Artificial Intelligence in Science Fiction Films, Visual Arts and Literature. A Short Introduction." Ekphrasis. Images, Cinema, Theory, Media 17, no. 1 (June 30, 2017): 5–8. http://dx.doi.org/10.24193/ekphrasis.17.1.
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Sari, Mehmet. "An Inquiry into Cultural Value Systems and Conflicts in Science Fiction: Exploring Spiral Dynamics in Foundation." Ekphrasis. Images, Cinema, Theory, Media 28, no. 2 (December 20, 2022): 104–18. http://dx.doi.org/10.24193/ekphrasis.28.5.
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Bruner, Jeffrey. ""Illustrated" Fiction: Ekphrasis in Carlos Rojas's "El Jardin de las Hesperides"." Modern Language Studies 22, no. 2 (1992): 102. http://dx.doi.org/10.2307/3195022.
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Zagorodneva, Kristina V. "Dialogues with the Artist and Functions of Pictures in Arkady Stavitsky’s Play ‘Good afternoon, Mister Gauguin!’." Вестник Пермского университета. Российская и зарубежная филология 14, no. 1 (2022): 120–32. http://dx.doi.org/10.17072/2073-6681-2022-1-120-132.
Повний текст джерелаАнотація:
The article analyzes Good Afternoon, Mister Gauguin!, the only ekphrastic play by modern Russian playwright and screenwriter Arkady Stavitsky (1930-2020), in the context of the writer’s works and taking into account approaches to the study of ekphrasis and visuality in drama. Following the intermedial approach, the research involved the study of works on art criticism and biographies dedicated to Gauguin’s life and work. Stavitsky focuses not only on the personality of the famous artist Paul Gauguin but also on his works created in the late 80s and early 90s of the 19th century. The ekphrasis of the picture ‘Good Afternoon, Mister Gauguin’ is present in the detailed remark at the beginning of the play. The title of both the picture and the play reflects the emotional state of the hero and ‘loops the finale’. The picture ‘The Yellow Christ’ symbolically sharpens the conflict between life and art, art and society. Stavitsky rethinks Gauguin’s character through his relationship with female characters in the play: the characters of Anna, Juliette, and Mette refer to the images of the myrrh-bearers at the foot of the cross in the picture ‘The Yellow Christ’ or ‘three Joans of Arc’ in the painting ‘Breton Women’.The pictures mentioned in the play are mostly by Paul Gauguin and his friend Emil Necker. Accordingly, while the pictures of the former are real, those of the latter are fictional. The generalized character of Emil Necker in the play suggests a parallel with S. Maugham’s novel The Moon and Sixpence. Necker’s picture ‘A Woman with a Child’ refers the reader to the famous canvases of Western European painters on the plot of the Virgin and Child. Emil’s wife Anna becomes one of the models for Gauguin’s works – the painting ‘Loss of Innocence’ and the sculpture ‘Be in Love and You Will Be Happy’, revealing the other side of her nature. The conflict between Anna and Juliette, another one of Gauguin’s models, is dramatized in the scene with a sketch for these works. The image of Van Gogh, depicted in the play as an unrecognized but ingenious artist, unites and contrasts Emil and Paul. The playwright’s familiarity with the published correspondence between Gauguin and Van Gogh, Gauguin and his wife Mette is obvious. The dialogism of the picture whose name is reproduced in the title of the play correlates not only with the dialogues in the play, organized around other pictures, but also emphasizes the author’s contradictory attitude toward his hero.
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Alexiou, Margaret. "Writing against Silence: Antithesis and Ekphrasis in the Prose Fiction of Georgios Vizyenos." Dumbarton Oaks Papers 47 (1993): 263. http://dx.doi.org/10.2307/1291681.
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Ha, Inhye. "Ad Singularitatem: Multiplicity, Commonplaced Selves, and Miscellanies in Siri Hustvedt’s The Blazing World." Contemporary Women's Writing 15, no. 1 (March 1, 2021): 52–71. http://dx.doi.org/10.1093/cww/vpab009.
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Abstract This essay focuses on the intertextual engagement of Siri Hustvedt’s The Blazing World with Margaret Cavendish’s seventeenth-century fiction. Going beyond a single-text reading, the essay argues that Hustvedt’s critical interventions in the making of a woman’s subjectivity—paratextual and intermedial—are informed by early modern manuscript culture and ekphrasis. As commonplacing affords opportunities for a compiler to assume plural voices, the commonplace books created by Burden, the protagonist, present a nuanced unfolding of a woman’s subjectivity on textual and visual levels. Notably, Burden’s self-fashioning and ensuing self-dissolution are prompted by deep-seated anger. Hustvedt, even in the face of her protagonist’s tragic end, celebrates the multiplicity that attends a woman’s heroic journey in attaining singularity.
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Lah, Nataša. "Hidden Ekphrasis in the Works of Miroslav Krleža." Ars & Humanitas 11, no. 1 (July 31, 2017): 118–33. http://dx.doi.org/10.4312/ah.11.1.118-133.
Повний текст джерелаАнотація:
Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.
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Lah, Nataša. "Hidden Ekphrasis in the Works of Miroslav Krleža." Ars & Humanitas 11, no. 1 (July 31, 2017): 118–33. http://dx.doi.org/10.4312/ars.11.1.118-133.
Повний текст джерелаАнотація:
Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.
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Trussler, Michael. "Literary Artifacts: Ekphrasis in the Short Fiction of Donald Barthelme, Salman Rushdie, and John Edgar Wideman." Contemporary Literature 41, no. 2 (2000): 252. http://dx.doi.org/10.2307/1208761.
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Harmash, Liudmyla. "EKPHRASIS IN ARTS AND WONDERS BY GREGORY NORMINTON: GIUSEPPE ARCIMBOIDO AND TOMMASO GRILLI." Fìlologìčnì traktati 12, no. 1 (2020): 49–60. http://dx.doi.org/10.21272/ftrk.2020.12(1)-5.
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The article reveals some features of postmodern aesthetics that were borrowed by modern literature from romantics, and are now undergoing a period of criticism. It is shown how a fiction reflects the continuity between contemporary literature and previous literary phenomena, which consists in the perception, transformation, and critical rethinking of aesthetic ideas and concepts. For this purpose, the genesis of Norminton’s novel Arts and Wonders was traced and a literary technique such as ekphrasis, that means a verbal description of a painting, was researched. An analysis of the two most significant ekphrasises – Vertumn and The Librarian – showed that the author of the novel raises the problem of copy or plagiarism, which today has gained particular relevance both in the world of art and in the academic environment. It was showed that Norminton solves this issue by referring to the traditional concept of mimesis. Despite the declaration of the need to imitate nature, Arts and Wonders demonstrates that the contemporary author asserts his right to free creative imagination, including the interpretation of historical facts and figures. The literary text refers to the artifacts which are presented in the arsenal of culture that are freely combined according to a kaleidoscope principle. Raising the question of the dialectical unity of such aesthetic categories as “beauty” and “ugliness”, Norminton enters into a polemic with the forerunner of postmodernism – romanticism. At the same time, the writer also poses questions about the correlation in the artist’s work of parts and the whole, about the need to achieve a balance of proportions between the elements that make up a work of art. Determining the genre originality of the novel, the author of the article concludes that it is a complex synthetic form that combines the features of picaresque novel, a biographical novel, a travel book, a historical novel, an artist's novel, and a Bildungsroman, which as a result forms a new genre variety – an adventure novel about the artist.
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Hołda, Małgorzata. "Nec Tecum Nec Sine Te: The Inseparability of Word and Image in Virginia Woolf." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 487–507. http://dx.doi.org/10.18778/2083-2931.12.29.
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This article explores the interaction of verbal and visual art in Virginia Woolf’s fiction, exemplified by her novel, To the Lighthouse. The narrative of the novel not only features scenes of the painting of the Ramsays’ portrait, but it unfolds as the creative process advances and concludes with Lily’s final stroke of her brush. While words are used to enact the process of creation, visual art serves as both a frame and a basis for the verbal. The synergistic movement of storytelling and the act of painting a picture “within the narrative” is more than an interesting instance of ekphrasis. In To the Lighthouse, words operate like pictures—according to Horace’s maxim, ut pictura poesis—and pictures work like words. Art’s resonance in the novel extends beyond depicting the process of painting. I examine Woolf’s aesthetic sensitivity and creative talent in relation to Paul Cézanne’s and Paul Klee’s art. The proximity between Woolf’s novel and the works of the two painters encourages us to view the role of shape and color in the two seemingly separate arts as the space for uncovering some vital truth about our being-in-the-word.
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Mitchell, Tamara L. "Geopoetics, Geopolitics, and Violence: (Un)Mapping Daniel Alarcón’sLost City Radio." Latin American Perspectives 46, no. 5 (June 11, 2019): 186–201. http://dx.doi.org/10.1177/0094582x19856877.
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Daniel Alarcón’s 2007 novel Lost City Radio positions post-civil-conflict Peru in relation to episodes of violence from across the globe by deploying two opposing cartographic impulses. First, the unnamed fictional nation of the novel shares historical, topographical, and sociopolitical traits with modern Peru. At the same time, the text refuses tidy association with Peru, principally by folding violent conflicts from a host of geopolitical spaces into the fictional nation via journalistic ekphrasis. This results in a unique geopoetics that serves to catalyze the localized reality of postconflict Peru as a means of interrogating the efficacy of human rights discourse in the neoliberal era on a global scale and bringing into focus the current inequity of responses to the global refugee crisis.En la novela Lost City Radio (2007) de Daniel Alarcón, el Perú de la posguerra se representa en relación con episodios de violencia de diversos países a través de dos impulsos cartográficos contradictorios. La nación ficticia (sin nombre) comparte rasgos históricos, topográficos y sociopolíticos con el Perú contemporáneo. A la vez, la novela no permite asociación simple con el Perú al incorporar conflictos violentos en diversos espacios geopolíticos a través de la écfrasis periodística. El resultado es una geopoética única que sirve para catalizar la realidad local del Perú de la posguerra con fin de interrogar la eficacia del discurso de los derechos humanos en la época neoliberal a escala global y puntualizar la crisis global de refugiados.
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Robinson, Timothy J. "Under the Cover of Epic: Pretexts, Subtexts and Textiles in Catullus' Carmen 64." Ramus 35, no. 1 (2006): 29–62. http://dx.doi.org/10.1017/s0048671x00000916.
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Catullus'Carmen64 unfurls a narrative tapestry rich in meaning and allusion. Its account of the marriage of Thetis and Peleus recalls the Trojan cycle, theIliadand theCypriain particular, and offers a response to and program for epic. Although Catullus' Alexandrian poem revels in its own retrospection and nostalgia,Carmen64 expresses the futility of attempting to achieve any true νόστος (‘return’) to the dominating yet foreclosed world of Homeric epic.Carmen64 reveals new perspectives in which traditional epic elements are reversed, reordered or juxtaposed in unexpected ways; these challenge received notions such as the admissible constituents of epic background, foreground, narrative and digression; the definitions of heroic deeds; and the implications of speech and writing.In the course of this revisionary projectCarmen64 avails itself of a systematic imagery involving cloths, clothes and textiles that are viewed and accessed by the poem's characters throughout to convey or receive knowledge: messages that are ‘written’ or ‘read’ or even ‘missed’ (as in the case of Aegeus seeing the forgetful Theseus' sails) in a variety of textile mediums: theuestis uariataof the central ekphrasis, Ariadne's clothes, her thread in the labyrinth, Theseus' sails, the threads of the Parcae, the thread to measure the neck of the newlywed Thetis—all these inform a text that is unified fromCarmen64's textiles. Recollection and representation are central to much fiction—μνῆσαι (‘remember’) is Priam's first word to Achilles atIliad24.486—andCarmen64 reaches far back into memory to cull myths from the epic repertoire to weave into its fabric.
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Poluektova, Tatiana A. "Phototextuality as a Poetological Category of the English Novel: Stating the Problem." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 100–110. http://dx.doi.org/10.17072/2073-6681-2021-4-100-110.
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The article deals with phototextuality as a poetological category of the modern English novel. An attempt is made to define the term ‘phototextuality’. A brief historiography of the issue is presented. The focus is basically on photographic ecphrasis, which we define as a description of a photograph being the subject of the character’s reflection or a result of cooperation of the photographer and the model. The article introduces two differentiating terms: protophotonekphrasis, which has a real photoprototype in the culture, and a notional photoekphrasis, created exclusively by the author’s imagination. Each of these photoekphrases is an active structure-forming component of both the issues raised and the poetics of the analyzed novels: Master Georgie (1998) by B. Bainbridge, The Photograph (2003) by P. Lively, The Rain Before It Falls (2007) by J. Coe, The Unseen (2011) by K. Webb. We investigate the functionality of photoekphrasis as a structural-semantic unit of literary text at the following levels: plot and composition, narrative, chronotope, system of images-characters. Photoekphrasis, organically fitting into the postmodern themes and subject matter of the novels, brings to the fore the concepts of memory, identity, fact and fiction, death and others as motives-themes and motives-problems. Basing on the analysis performed, we propose a classification of novels depending on the type of photographs presented in them – staged or random (natural): 1) a novel-photoreconstruction and 2) a novel-photoreflection. Photographic ekphrasis as a type of phototextuality can be considered one of the basic narrative strategies in literary practice of the late 20th – early 21st centuries.
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Levytska, Oksana. "Intermedial strategies in biographical novels about artists (based on biographical works about Vincent van Gogh written by V. Domontovych and about Chaim Soutine by Ralph Dutli)." LITERARY PROCESS: methodology, names, trends, no. 18 (2021): 41–47. http://dx.doi.org/10.28925/2412-2475.2021.18.6.
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The article is devoted to the study of peculiarities of intermedial relationships in biographical works about artists. Based on V. Domontovych’s fictionalized biography «A Lonesome Traveller Walking along a Lonesome Road» and Ralph Dutli’s novel «Soutine’s Last Journey» («Soutines letzte Fahrt»), it analyses the inter-artistic interaction of literature and painting, traces how the translation is done from the language of visual art into the language of literary work, and how the artist’s creative heritage and especially the peculiarities of his artistic technique influence the poetics of the biographical novel. Applying the methodology of intermedial analysis, it explores the ways in which art manifests itself on compositional, poetical, linguistic and stylistic levels in the novels about artists. The interaction of the verbal and fine arts is analysed at the level of thematization, construction of the artist’s image and description of the creative process. The intermediality of biographical novels about Vincent van Gogh and Chaim Soutine is considered through the transfer of features of a work of fine art into verbal art, through the employment of the main means of image creation in painting, such as colour, line, composition, etc. Based on the artistic practices of avant-garde art, the artists under analysis worked within, particular attention is paid to the identification of the poetical principles of artistic trends in the style of a literary work, that is, naturalistic and impressionist elements in Van Gogh’s biography and expressionist and surrealist elements in the novel about Soutine. In addition, the role of a pictorial quotation in the biographical fiction about the artist is worked out. A significant attention in biographical novels about artists is given to artistic detail and ekphrasis. Novels about artists provide rich material for the research of the dialogue between literature and fine arts not only for literary scholars but also for art critics.
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Sudliankova, Volha. "Phototextuality as a Phenomenon of Present-Day British Prose." CLEaR 3, no. 2 (September 1, 2016): 9–15. http://dx.doi.org/10.1515/clear-2016-0009.
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Abstract Like many other world literatures, the English literature of the last few decades has been marked by an intensive search for new narrative techniques, for innovative ways and means of arranging a plot and portraying characters. The search has resulted, among other things, into merging literature with visual arts like painting, film and photography. This phenomenon got the name of ekphrasis and has become a popular field of literary research lately. Suffice it to cast a glance at several of the novels published around the year 2000 to see that incorporation of photographic images into fiction allows writers to use new means of organizing literary texts, to employ non-conventional devices of structuring a plot and delineating personages as well as to pose various problems of aesthetic, ethical, ideological nature. We suggest to look briefly at seven novels published in the last three decades to see the various roles assigned to photography by their authors: Out of this World (1988) by Graham Swift, Ulverton (1992) by Adam Thorpe, Master Georgie (1998) by Beryl Bainbridge, The Dark Room (2001) by Rachel Seiffert, The Photograph (2003) by Penelope Lively, Double Vision (2003) by Pat Barker and The Rain Before It Falls (2007) by Jonathan Coe. The scenes of the novels are set widely apart and have time spans of various duration. Ulverton and Master Georgie have a mid-19th century setting, The Dark Room is centered round WWII, Out of this World and The Rain before It Falls contain their heroes’ long life stories, while The Photograph and Double Vision are set at the end of the last century and their characters are our contemporaries. The novels also differ by the particular place photographs occur in the novels, by the roles they play there, as well as by the issues associated with them.
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Shalimova, Nadezhda S. "‘A frightening, scary book about children…’: the Poetics of the Novel ‘The Little Friend’ by D. Tartt." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 134–43. http://dx.doi.org/10.17072/2073-6681-2022-4-134-143.
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The article is devoted to comprehensive research on the novel The Little Friend by D. Tartt. It investigates the narrative features and genre characteristics of the literary work. The immanent method was used in research to study the narrative model: the symbolic meaning of the title, the specifics of the settings and plot structure, means of characterization, the theme of racial inequality, intertextuality, and photographic ekphrasis in the novel. The contextual method allowed us to identify the features of the ‘southern noir’ in the novel, as well as to consider the traditional and innovative manifestations of the characteristics of young adult literature. The theme of growing up in the novel is associated with traditional motives of loss, experiencing death, illness, mental pain, disappointment, and self-attainment. The Little Friend is third-person narration, this is the only work by D. Tartt where it is used, opposite to the retrospective confessional narration of the novels The Secret History and The Goldfinch. The story is told by the omniscient author who enters the mind of his character. It gives the writer the possibility to focus not only on the inner world of the main characters but also to present the historical and cultural background, as well as to create expressive psychological portraits of the minor characters and their families. The tone of the novel is quite conversational; the narrator is very exact in describing the characters and places. The paper concludes that the novel simultaneously contains the features of young adult fiction – the theme of growing up through overcoming trials (loneliness, loss, fighting the evil / awareness of the illusory nature of ideas about it), and the characteristics of the literature of the American South, the contexts of which play a crucial role for D. Tartt as a writer and a person.
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Ковалишин, Катерина. "КАТЕГОРІЯ ВІЗУАЛЬНОГО В ЛІТЕРАТУРОЗНАВСТВІ − МІЖДИСЦИПЛІНАРНИЙ АСПЕКТ". Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 4, № 1 (2022): 99–107. http://dx.doi.org/10.15804/ppusn.2022.01.09.
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The concept of “visuality” describes the image of the channels of perception presented in different forms. The text has visual features, due to the content, but also due to its symbolic, sign system. Philologists have been dwelling on the idea of the “visual” ability of a language, by means of fiction, which singles out the existence of pictorial art forms such as landscape, portrait and sculpture. The great interest in the category of visualization is said to be because of modern types of communication. The aim of this article is to review some aspects of the category of visualization, in its current state and its representation in the art of the modernist’s era. The category of visualization covers a wide range of concepts, such as creolized texts, some semiotic studies, intermedialism, iconic texts, the theory of ekphrasis and hypotyposis. It was established that the “escalation” of the image role has led to the need to highlight the concept of “visuality” within modern linguistics. Visual thinking is interpreted as a kind of non-classical rationality. At the moment, philologists know a wide range of concepts that include the term “visual”. For example: visual culturology, visual political science, visual sociology, visual anthropology, the theory of visual communications. We found out, that the modernist era, puts emphasis on the elusiveness, the mystery, the enigma and on the undeciphered inner, so that the hidden meaning was increased. It was believed that all references suitable for perception by the human eye are codes that hide an eternally existing idea. Such a visual presentation allows the recipient to understand the essence of the work on an intuitive level. Symbolism was an integral part of modernism. For optimal study of visualsm, a hypothetical-deductive method was used to get acquainted with the existing materials at this stage of development. Modernism is a set of artistic trends in the art of the second half of the nineteenth – mid-twentieth century. Its supporters were inclined to believe that life forms in the twentieth century exhausted themselves, and the periods that were considered successful for realism were in fact epochs of decline. The new literary phenomenon of the time was called modernism, and the search for positive ideal images began, in contrast to the destruction of public opinion and the crisis that appeared in the place of past ideas. Modernism has destroyed all ties with traditional aesthetics and the ideals of the past. At the same time, the visual aspect of modernism became a mixture of two oppositions the visual and the written text.
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Dougall, Mara. "Writing the Artist’s Gaze: Ethics and Ekphrasis in Early Twentieth Century Historical Fiction." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 27 (December 21, 2018). http://dx.doi.org/10.2218/forum.27.2901.
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This article examines portrayals of visual artists in novels by Pat Barker and A.S. Byatt, focusing on artists’ appeal to writers, and the associated ethical and artistic challenges. It proposes that artist characters can offer creative ways of probing not only particular periods of history, but the creative process itself.
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Taylor-Green, Benedict Charles. "Neuroimages: Some Serving Suggestions." NanoEthics, August 6, 2021. http://dx.doi.org/10.1007/s11569-021-00395-7.
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AbstractThis art-science interaction evokes two ‘neuroimages’. However, the term ‘neuroimage’ does not refer, as usual, to images that emerge from scientific practices that seek to gain insight into the structural and functional properties of brains. Rather, it is meant that the images considered have as their theme neurotechnologies: specifically, those that concern the control of neuroprostheses, and neuroprostheses themselves. The first neuroimage appears in a biosignal sensing cap catalogue, and the second appears in the science fiction film Blade Runner 2049. While neither neuroimage is actually included in the piece, each is described to the reader before being speculatively analysed, and therefore becomes a ‘mental’ image in the mind’s eye, calling upon the ancient art of ekphrasis.
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Bényei, Tamás. "Emlékmű és kísértethang." Studia Litteraria 54, no. 3-4 (July 1, 2015). http://dx.doi.org/10.37415/studia/2015/54/4165.
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The main hypothesis of the article is that the two opposing poles of the spectrum of the (British) cultural memory of the Great War – official, monumentalizing memory and the various strands of counter-memory – are represented respectively by the image of the memorial and the motif of the ghosty voice. The article describes the variations of this dichotomy, discussing poetry by Sassoon and Owen, as well as fiction by John Galsworthy, Henry Williamson, Christopher Isherwood, Alan Hollinghurst and Adam Thorpe, among others, concentrating on moments that could be called memorial ekphrasis, as well as on various aspects of the spectral voice contrasted to monumentalizing memory. What the readings show is that the stark contrast between the two kinds of memory and the two motifs associated with them is ultimately rather unstable.
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Conese, Claudia. "Considerazioni sull’autorappresentazione di Trimalchione: gli affreschi della porticus e il monumento funebre." Ancient Narrative, January 26, 2021, 91–123. http://dx.doi.org/10.21827/an.17.37041.
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This article addresses some issues relating to the life of Trimalchio, the well-known freedman of Petronius' Satyricon. In particular, it focuses on the modalities of self-representation of the freedman through two ekphrasis, the one painted in the frescoes of the porticus, and the other represented by the monumental complex of his tomb. The two descriptions are interpreted not only in the light of literary references, both internal and external to the Petronian novel, but also trying to find precise archaeological counterparts that would help to insert literary fiction in a realistic context. From the comparison with the literary and archaeological data some details emerge that highlight the complex and multifaceted Trimalchio’s desire for self-representation, which denotes a deep and lucid consciousness of himself and of his own condition beyond the well-known cliché of the rich upstart.
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Remy, Anthony. "Ekphrasis de l’écran de fumée et prolifération textuelle : une étude de House of Leaves de Mark Z. Danielewski (2000) et de Dorian, an Imitation de Will Self (2002)." Motifs, no. 4 (January 1, 2021). http://dx.doi.org/10.56078/motifs.477.
Повний текст джерелаАнотація:
Publiés au tournant du XXIe siècle, à deux ans d’intervalle, House of Leaves et Dorian, an Imitation s’articulent tous deux autour d’une tension constante entre réalité et fiction, incarnée par le paradigme écranique de la représentation. L’écran, dont la profusion eut dès la première moitié du XXe siècle une influence considérable sur l’évolution de la société occidentale, s’y voit accordé une importance toute particulière, bien qu’il se retrouve délibérément relégué aux marges de l’espace diégétique des deux récits, tout en y jouant un rôle fondamental : la définition même du hors-champ. Encouragés par une quête commune de rédemption, les protagonistes des deux romans entreprennent dès lors de réintégrer ces représentations artistiques dans le cadre diégétique, engendrant une prolifération de l’écrit qui se révèlent n’être qu’un écran de fumée supplémentaire au simulacre sous-jacent.