... and the related ekphrastic moments. My reading is inspired by Liliane Louvel’s (2011) concept of a “picture gallery novel”, Tamar Yacobi’s (2013) work on “double exposure”, and Emma Kafalenos’s (2012) concern with narrativization of sequences of images. I propose to supplement their work with the concept...

... and Semiotics 2018 ekphrastic moment reading event phenomenology pictorial third Bibliography Banville John , 1993 Ghosts ( London : Secker and Warburg ). Barnes Julian , 1989 A History of the World in 10 and 1/2 Chapters ( London : Jonathan Cape ). Barthes...

... the romantic concept of the “power of images” (Freedberg 1989), enhanced via the emotional impact of ekphrastic viewing in the novels. In modernist novels, ekphrasis was often linked to moments of epiphany in which characters experienced profound revelations, whether these were spelled out for the reader...

... of one individual’s ekphrastic response to an image on another individual’s subsequent viewing of that image, and, more generally, at the process of narrativizing visually perceived iso- lated moments. Each of the six first-­person chapters has, as its third page, a full-­color copy...

... doublet. However, I would argue, their analysis, apart and a fortiori together, yields theoretical, interpretative, even art-historical conclusions that extend beyond either of the special cases or their joint product. Ekphrastic double exposure simultaneously evokes a number of totally unrelated visual...

...Jolene Mathieson New media technologies have inaugurated the most recent and important shift in our understanding of word-image relations. While seminal studies of new media poetry ( Funkhouser 2012 ; Hayles 2006 , 2008 ) and its potentially ekphrastic properties ( Lindhé 2013 ) have been published...

..., such as pictured and picture-less, mimetic and transformed, notional and actual, abbreviated and described, printed and screen, canonical artwork and non-art image, narrative and poetic ekphrasis, the introduction further discusses ekphrastic theories with a specific focus on their relevance to its practices...

...Jessica Bundschuh In an Internet age dominated by network structures and visuality, contemporary ekphrastic critics and writers have felt prompted to question anew the value of ekphrasis to its readers. That is, it has become important to demarcate a site for ekphrasis’s continued cultural currency...

...Gabriele Rippl This article takes as its starting point the conspicuous ekphrastic nature of many contemporary Anglophone transcultural novels and asks about their engagement with ekphrasis as a self-reflexive writing mode delving into implicit power relations, cultural hierarchies, and the media...

...: Clarendon Press). Smith, Mack 1995 Literary Realism and the Ekphrastic Tradition (University Park: Pennsylvania State University Press). Spitzer, Leo 1962 [1955] “The Ode on a Grecian Urn; or, Content vs. Metagrammar,” in Essays on English and American Literature , edited by Anna Hatcher, 67...

... of commen- tary rather than offering any sustained theoretical investigation. They are inflected more toward biographical information and clearly are pitched at the general reader, not least in their sentimentally uplifting chapter head- ings (two examples: “Intimate Moments: Enchanted Readers...

... Today 16 : 599 -649. 1997 “Verbal Frames and Ekphrastic Figuration,” in Interart Poetics: Essays on the Interrelations of the Arts and Media , edited by Ulla-Britta Lagerroth, Hans Lund, and Erik Hedling, 35 -46(Amsterdam: Rodopi). The Power of Double Coding...

... Amazement: New Essays on John Ashbery , edited by David Lehman, 163 -208 (Ithaca, NY: Cornell University Press). Bernstein, Charles 1992 “Artifice of Absorption,” in A Poetics 9 -89 (Cambridge: Harvard University Press). Bloom, Harold 1985 [1976] “The Charity of the Hard Moments,” in John...

...Karen Sullivan Representational and nonrepresentational (abstract) artists exhibit different conceptual processes when they describe their work. Data from ekphrastic texts written by artists to accompany their artwork show that, although both kinds of painters refer metaphorically to their art...

... empha- sis). Conversely, scholars of visual culture stress that writing and speech call forth images (Christin 1995, Esrock 1994) and that even “‘pure’ texts incorporate visuality quite literally the moment they are written or printed in visual form” (W. J. T. Mitchell 1994: 95). Other areas...

... a discrepancy between the image evoked by the ekphrastic moment of the poem and the photographic image to which the Long • Photography and Text in Bertolt Brecht’s War Primer 213 poem ostensibly refers, constructing an irreducible tension between image and text. The quatrain cannot be said...

... systematically uses it to produce a destabilizing reading effect, to interrupt the text, to enhance its vividness but also to reduce the free play of imagination. There ensues a recognition effect when the viewer/reader identifies the photograph as corresponding to the ekphrastic passage and/ or a moment...

...) from mimetic space and reorganizes them in a new ensemble. In this manner analogical space may link the local detail and the disconnected scene to the moving whole. In both of its manifestations, space cannot unfold except from moment to moment along the verbal se- Lachman • Keats’s...

... nostalgic picture of the ‘‘high moment’’ in film theory (ca. the late 1960s and 1970s), and practically bemoaned the ‘‘end of theory’’ in cinema studiesthe2000plenary seemed almost a rebuttal of the glum warnings All...

... between what the telling lets us readers know about the happening (e.g., a con- flict) at any moment and what still lies ahead, ambiguous because yet unresolved in the world. Its fellow universals rather involve manipulations of the past, which...