The poetics of<i>ekphrasis</i>

Hollander, John

doi:10.1080/02666286.1988.10436238

Cited by 149 publications

(10 citation statements)

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“…There is precedent for studying ekphrasis of nonvisual artifacts. Scholars such as John Hollander (1988) have expanded the definition of ekphrasis to include literary descriptions of imagined items. Mack Smith (1995: 246-249) and Mai Al-Nakib ( 2005) study the ekphrastic representation of music in narrative.…”

Section: Mapping Lost City Radio As Fictionalized Perumentioning

confidence: 99%

Geopoetics, Geopolitics, and Violence: (Un)Mapping Daniel Alarcón’sLost City Radio

Mitchell¹

2019

Latin American Perspectives

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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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Section: Mapping Lost City Radio As Fictionalized Perumentioning

confidence: 99%

Geopoetics, Geopolitics, and Violence: (Un)Mapping Daniel Alarcón’sLost City Radio

Mitchell¹

2019

Latin American Perspectives

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“…The former is particularly the case with notional ekphrasis, although it has been suggested (e.g. Hollander, 1988;Kennedy, 2012) that actual ekphrasis is associated with strong interpretive tendencies in modern and contemporary poetry. Moreover, actual ekphrasis places emphasis on the readers' role in the creation of meaning through their involvement with the art object and the literary work.…”

Section: Introductionmentioning

confidence: 99%

‘In the mind’s eye’: A cognitive linguistic re-construction of WD Snodgrass’ ‘Matisse: The Red Studio’

Panagiotidou

2016

Language and Literature

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Although ekphrastic poetry has always been a popular poetic genre, the twentieth century saw a profusion in the production of literary texts that describe art objects. Ekphrastic criticism is abundant with critical discussions raising questions concerning aesthetics, the value of artistic creations, and the nature of representation. However, these discussions rarely consider the experience of reading an ekphrastic poem or account for readers' responses to ekphrastic texts. The present paper uses the tools and methodology of cognitive poetics to examine how WD Snodgrass' ekphrastic poem 'Matisse: The Red Studio' may be mentally reconstructed. The analysis focuses on figure-ground relations and the psychological notion of attention to explore how textual cues are brought together to create a representation of the painting described in the poem. It examines the use of particular lexical items that denote colors, forms, and textures as they become available for processing into objects. While addressing Snodgrass' questions concerning the ownership of art objects and the notion of 'still movement', it also illustrates the ability of cognitive poetics to account for reader responses to ekphrastic poems in a way that complements and expands on trends in linguistics and literary criticism.

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“…32.Putnam (1998), 1. The idea of ‘notional ekphrasis’ is borrowed from Hollander (1988), 209-19. This is not to deny that Virgil's ekphraseis are in dialogue with real objects of art and architecture in any number of ways: e.g., Virgil's description of the baldric of Pallas ( Aen.…”

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confidence: 99%