Representation in Words and in Drama: The Illusion of the Natural Sign

Krieger, Murray

doi:10.1515/9783110884937.183

Cited by 7 publications

(9 citation statements)

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“…40. On the complex simultaneity of verbal and visual that ecphrasis entails, see Krieger 1992, 10-11. 41.…”

Section: Capaneus and Eteoclusmentioning

confidence: 99%

Reciprocity, Truth, and Gender in Pindar and Aeschylus

2023

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The University of Michigan Press's open access publishing program is made possible thanks to additional funding from the University of Michigan Office of the Provost and the generous support of contributing libraries. Cover illustration: Attic red figure calyx krater with the killing of Agamemnon, 460 BCE, by the Dokimasia Painter. Courtesy William Francis Warden Fund, 63.1246, Museum of Fine Arts, Boston.

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“…40. On the complex simultaneity of verbal and visual that ecphrasis entails, see Krieger 1992, 10-11. 41.…”

Section: Capaneus and Eteoclusmentioning

confidence: 99%

Reciprocity, Truth, and Gender in Pindar and Aeschylus

2023

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“…36 Parsing Sigurd Burckhardt, Murray Krieger has discussed poetry's striving towards the material state of other artforms: 'the poem must convert the transparency of its visual medium into the physical solidity of the medium of the spatial arts.' 37 When the spatial art concerned is itself three-rather than two-dimensional, this challenge becomes especially acute. In Mahon's case the challenge stands out even more by virtue of the contrast with his many ekphrases about photography.…”

Section: Materiality and The Limits Of Ekphrastic Formmentioning

confidence: 99%

Object Lessons: Derek Mahon's Material Ekphrasis

Vincent¹

2018

Interdisciplinary Literary Studies

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Ekphrastic mode, with its emphasis on visual art, affords poets unique opportunities for exploring the limits of verbal art: for some writers, ekphrasis becomes almost a form of ars poetica by proxy. This is the case in many of Derek Mahon's ekphrases, as is well documented: Hugh Haughton proposes that for Mahon, paintings 'become…a site of metamorphosis and a figure for poetry'; 1 Terence Brown observes that 'Mahon's poems on paintings are striking occasions in his work when the claims of art itself are tested.' 2 Mahon's self-reflexive use of ekphrasis has received substantial critical attention not only from Haughton and Brown but also

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“…This raises doubts whether ekphrasis is an illusion that induces an effet de réel, as argued by Krieger (1967Krieger ( ,1992, In Example (5), it is not just the simulation of the tasteful experience of the cookie that is at issue. Rather, the verbalization of usually underspecified subevents draws attention to the meaning behind the visible.…”

Section: How Is Verbal Imagery Like "Picture-viewing"?-the Experienti...mentioning

confidence: 99%

Ut Pictura Poesis? The Poetics of Verbal Imagery

Zeman¹

2018

Oxford Scholarship Online

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How can verbal-cued poetry be “visual,” “pictorial,” and “vivid”? This chapter aims at looking behind such notions by isolating the basic semiotic mechanisms of vision, picture-viewing, and mental imagery and provides a descriptive model to investigate (1) the semiotic dimension of verbal imagery with respect to its visual and pictorial character and (2) its relationship to the reader’s experience of mental imagery. Through exemplary analyses of visual poetry, onomatopoeia, figurative language, the historical present, and ekphrastic descriptions, it is shown that the literary core concepts of “visuality,” “pictoriality,” and “vividness” refer to surface phenomena that are not directly linked to the phenomenal experience of visual perception and image likeness. The results are discussed against the background of recent neurocognitive studies, leading to the conclusion that such notions should be given up in favor of a general model of representation in terms of poetic iconicity.

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Representation in Words and in Drama: The Illusion of the Natural Sign

Cited by 7 publications

References 0 publications

Reciprocity, Truth, and Gender in Pindar and Aeschylus

Reciprocity, Truth, and Gender in Pindar and Aeschylus

Object Lessons: Derek Mahon's Material Ekphrasis

Ut Pictura Poesis? The Poetics of Verbal Imagery

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