Introduction: Eight Ways of Looking at an Ekphrasis

Bartsch, Shadi; Elsner, Jaś

doi:10.1086/521128

Cited by 86 publications

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“…It is often considered to have its origins in the earliest Greek literature, Homer's Iliad and Hesiod (e.g. Francis 2009; also Bartsch and Elsner 2007). The phenomenon, however, is much older and more widespread; only the term can be seen as originating in the Greek world.…”

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When Statues Speak About Themselves

Frood¹

2020

Statues in Context

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I am grateful to Aurélia Masson-Berghoff and Neal Spencer for their invitation to contribute to this volume, and to Aurélia for her very helpful editing of the text. John Baines read and commented on drafts at different stages and was a wonderful sounding board for different ideas. Thank you also to Campbell Price for sharing his doctoral thesis with me, and to Vincent Rondot, Audrey Viger, and Roxane Bicker for figure permissions. I am fortunate to work with a brilliant team of research assistants: Christelle Alvarez, Julia Hamilton, Ellen Jones and Chiara Salvador all contributed fundamentally to clarifying my ideas and getting this into its final form.

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When Statues Speak About Themselves

Frood¹

2020

Statues in Context

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“…This interest in ekphrasis was initiated in classics byBartsch 1989; good collections in Elsner 2002a andBartsch-Elsner 2007, who also have an extensive bibliography.…”

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Pluperfects and the Artist in Ekphrases

Jong¹

2015

Mnemosyne

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This study discusses the figure of the artist in classical ekphrases, in particular the pluperfects of verbs of making of the type ἐτέτυκτο, ἤσκητο, ἐκεκόσµητο, ἐτετείχιστο,caelaverat,fecerat,struxeratwhich evoke that artist. After setting up a framework of the various other ways in which the artist can be represented in ekphrases, I zoom in on the pluperfects and show how they are used differently in Greek and Latin ekphrases: in Greek the medio-passive pluperfect describes a finished object while at the same time acknowledging the act of making and hence the maker; in Latin the active pluperfect occurs in analepses which evoke the act of making by a maker as an event of the past. I end with the remarkable use of the pluperfect by Vergil in the shield of Aeneas inAeneid8. He uniquely combines the Greek epic tradition of the refrain of verbs of making with the Latin analeptic force of the tense, in order to keep reminding the narratees of the maker of the shield, Vulcan, and his prophetic powers and of the earlier, crucial scene of the divine smith forging the shield.

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ecphrasis

2013

The Virgil Encyclopedia

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Introduction: Eight Ways of Looking at an Ekphrasis

Cited by 86 publications

References 0 publications

When Statues Speak About Themselves

When Statues Speak About Themselves

Pluperfects and the Artist in Ekphrases

ecphrasis

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