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Poetry, Photography, Ekphrasis by Andrew D. Miller Pdf
A detailed study of the ekphrasis of photography in poetry since the 19th century. Unlike other critical studies of ekphrasis, Miller's study concentrates solely on the lyrical ekphrasis of photographs, setting out to define how the photographic image provides a unique form of poetic ekphrasis.
A common definition of ekphrasis is descriptive writing influenced by the visual arts. Beyond the written word, however, responding to art can engender self-reflection, creativity, and help writers to build characters, plot, and setting. This book unites the history and tradition of ekphrasis, its conventions, the writing process, and multi-genre writing prompts. In addition to subjects such as early art engagement, psychology, and the eye-brain-perception relationship, this book discusses artists' creative processes, tools, and techniques, and offers instruction on how to read art by way of deep-looking.
Rumi in Manhattan is an ekphrastic collection of poetry and photography presented in a bilingual format of English and Persian. The poetries are from Rumi, a thirteenth-century Persian mystic and scholar who has influenced the world of mysticism profoundly. The ekphrasis of photography presented in this book can be considered as poetic photos or a set of pictured poetries. The book is an ethereal path from photography to poetry via diving into the ocean of Rumis words.
Ekphrasis in American Poetry by Sandra Lee Kleppe Pdf
Ekphrasis in American Poetry: The Colonial Period to the 21st Century provides a sample of the chronological range and stylistic variety of ekphrastic poetry, or poetry that engages in various ways with different types of visual art, including pictographs, paintings, moving panoramas, daguerreotypes, photographs, landscape, and more. The volume shows how ekphrasis has been a part of American poetry from its inception, and that as many American men as women have produced work in this genre. The book opens with an overview chapter followed by an examination of American ekphrastic poems during the formative Colonial period where Europe, Africa, and Indigenous America met in encounters that are depicted in art and literature. It closes with two chapters on Native American poetry that consider how American landscapes serve as ekphrastic prompts for personal and collective experiences. In between are contributions on men and women poets and artists who have engaged with ekphrasis in a variety of ways from different periods. As such, American ekphrasis emerges as a genre that has implications far beyond the Eurocentric versions of the canon that have hitherto been discussed in the critical literature on the topic.
Author : W. J. T. Mitchell,William John Thomas Mitchell Publisher : University of Chicago Press Page : 466 pages File Size : 51,6 Mb Release : 1995-09 Category : Art ISBN : 0226532321
Picture Theory by W. J. T. Mitchell,William John Thomas Mitchell Pdf
What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.
Through his portraits of ordinary people August Sander, the German photographer whose work chronicled the extreme tensions and transitions of the twentieth century, captured a moment in history whose consequences he himself couldn't have predicted. Using these photographs as a lens, Adam Kirsch's poems connect the legacy of the First World War with the turmoil of the Weimar Republic and foreshadow the Nazi era. Kirsch writes both urgently and poignantly about these photographs, creating a unique dialogue of word and image that will speak to readers.
In the Frame by Jane Hedley,Nick Halpern,Willard Spiegelman Pdf
The subject of In the Frame is poetic ekphrasis: poems whose starting point or source of inspiration is a work of visual art. The authors of these sixteen essays, several of whom are poets as well as critics, have a twofold purpose: calling attention to the contribution women poets have made to this important genre of poetic writing and re-thinking ekphrastic poetry's motives and purposes. From Marianne Moore and Elizabeth Bishop to Mary Jo Salter, C. D. Wright, and Susan Wheeler, many of our best women poets have done important work in this genre, and when they describe, confront, or speak for an image that is itself wordless, their motives are not only formal but aesthetic. Their poems also raise important questions, from a perspective that is often, but not always, gender-inflected about how art is made and displayed, experienced and valued, celebrated and commodified. Jane Hedley is K. Laurence Stapleton Professor of English at Bryn Mawr College. Willard Spiegelman is the Hughes Professor of English at Southern Methodist University, and editor-in-chief of the Southwest Review. Nick Halpem is an associate professor in the English Department at North Carolina State University.
A collection of ekphrastic prose poems by mixed-media artist Lorette C. Luzajic. The poetry is inspired by a range of personal experiences, her travels, love and loss, and paintings from Picasso to Basquiat to Darger.
From amateur experiments in scrapbooks and stereographs to contemporary photobook collaborations between leading practitioners, poets and photographers have created an art form that continues to evolve and deserves critical exploration. Photopoetry 1845-2015, a Critical History represents the first account of this challenging and diverse body of work. Nott traces the development of photopoetic collaboration from its roots in 19th-century illustrative practices to the present day. Focusing on work from the UK and US, he examines how and why poets and photographers collaborate, and explores the currents of exchange and engagement between poems and photographs on the page. The book not only considers canonical figures, but brings to light forgotten practitioners whose work questioned and shaped the relationship between word and image. Photopoetry 1845-2015, a Critical History provides a new lens through which to explore poetry, photography, and the spaces between them.
Author : James A. W. Heffernan Publisher : University of Chicago Press Page : 261 pages File Size : 50,8 Mb Release : 2004-04 Category : Literary Criticism ISBN : 9780226323145
Ekphrasis is the art of describing works of art, the verbal representation of visual representation. Profoundly ambivalent, ekphrastic poetry celebrates the power of the silent image even as it tries to circumscribe that power with the authority of the word. Over the ages its practitioners have created a museum of words about real and imaginary paintings and sculptures. In the first book ever to explore this museum, James Heffernan argues that ekphrasis stages a battle for mastery between the image and the word. Moving from the epics of Homer, Virgil, and Dante to contemporary American poetry, this book treats the history of struggle between rival systems of representation. Readable and well illustrated, this study of how poets have represented painting and sculpture is a major contribution to our understanding of the relation between the arts.
Photographic Ekphrasis in Cuban-American Fiction by Louisa Söllner Pdf
Photographic Ekphrasis in Cuban-American Fiction introduces the concept of photographic ekphrasis as a reading tool for Cuban-American autobiographies and novels and argues that a focus on photographs provides fresh insights into these texts.
This handbook offers students and researchers compact orientation in their study of intermedial phenomena in Anglophone literary texts and cultures by introducing them to current academic debates, theoretical concepts and methodologies. By combining theory with text analysis and contextual anchoring, it introduces students and scholars alike to a vast field of research which encompasses concepts such as intermediality, multi- and plurimediality, intermedial reference, transmediality, ekphrasis, as well as related concepts such as visual culture, remediation, adaptation, and multimodality, which are all discussed in connection with literary examples. Hence each of the 30 contributions spans both a theoretical approach and concrete analysis of literary texts from different centuries and different Anglophone cultures.
Self-Portrait in a Convex Mirror by John Ashbery Pdf
John Ashbery’s most renowned collection of poetry -- Winner of The Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award First released in 1975, Self-Portrait in a Convex Mirror is today regarded as one of the most important collections of poetry published in the last fifty years. Not only in the title poem, which the critic John Russell called “one of the finest long poems of our period,” but throughout the entire volume, Ashbery reaffirms the poetic power that made him an outstanding figure in contemporary literature. These are poems “of breathtaking freshness and adventure in which dazzling orchestrations of language open up whole areas of consciousness no other American poet as ever begun to explore” (The New York Times).
Join artist Terry Brett and poet Chip Webster on a journey to challenge and inspire each other with this collaboration of visual art and the written word. Poet and artist take turns daring each other to interpret the other's work. Can you determine which came first, the poem or the painting?
Does it matter when and where a poem was written? Or on what kind of paper? How do the author’s ideas about inspiration or how a poem should be written precondition the moment of putting pen to paper? This monograph explores these questions in offering the first full-length study of Ted Hughes’s poetic process. Hughes’s extensive archives held in the UK and US form the basis of the book’s unique exploration of his writing process. It analyses Hughes’s techniques throughout his career, arguing that his self-conscious experimentation with the processes by which he wrote profoundly affected both the style and subject matter of his work. The book considers Hughes’s changing ideas about how poetry ‘ought’ to be written, discussing how these affect his creative process. It presents a fresh exploration of Hughes’s major collections across the span of his career to build a detailed illustration of how his writing methods altered. The book thus restores the materiality of paper and ink to Hughes’s poems, reading their histories, the stories they tell of their composition, and of the intellectual and creative environments in which they were gestated, born and matured. In the process, it offers a template for new approaches in authorship studies, reframing one of the twentieth century’s most iconic literary figures through the unseen histories of his creative process.
