Letitia Elizabeth Landon
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| - | [[Ekphrastic poetry]] flourished in the [[romanticism|Romantic]] era and again among the [[pre-Raphaelite]] poets. A major poem of the English Romantics – "[[Ode on a Grecian Urn]]" by [[John Keats]] – provides an example of the artistic potential of ekphrasis. The entire poem is a description of a piece of pottery that the narrator finds immensely evocative. [[Felicia Hemans]] made extensive use of ekphrasis,<ref>Grant F. Scott. ''The Fragile Image: Felicia Hemans and Romantic Ekphrasis'' in ''Felicia Hemans. Reimagining Poetry in the Nineteenth Century''. Palgrave Macmillan, 2001. {{ISBN|978-0-333-80109-3}}</ref> as did [[Letitia Elizabeth Landon]], especially in her ''Poetical Sketches of Modern Pictures''. [[Dante Gabriel Rossetti]]'s "double-works" exemplify the use of the genre by an artist mutually to enhance his visual and literary art. Rossetti also ekphrasised a number of paintings by other artists, generally from the Italian Renaissance, such as [[Leonardo da Vinci]]'s ''[[Virgin of the Rocks]]''.<ref>{{cite web|title=For "Our Lady of the Rocks", by Leonardo da Vinci|url=http://www.rossettiarchive.org/docs/5-1848.raw.html|website=Rossetti Archive|access-date=7 March 2017}}</ref> | + | '''Letitia Elizabeth Landon''' (14 August 1802 – 15 October 1838) was an English poet and novelist, better known by her initials '''L.E.L.''' |
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| - | Other examples of the genre from the nineteenth century include [[Michael Field (author)|Michael Field]]'s 1892 volume ''Sight and Song'', which contains only ekphrastic poetry; [[Algernon Charles Swinburne]]'s poem "Before the Mirror", which ekphrasises [[James Abbott McNeill Whistler]]'s ''[[Symphony in White, No. 2: The Little White Girl]]'', hinted at only by the poem's subtitle, "Verses Written under a Picture"; and [[Robert Browning]]'s "[[My Last Duchess]]", which although a [[dramatic monologue]], includes some description by the duke of the portrait before which he and the listener stand. | + | |
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| - | Ekphrastic poetry is still commonly practised. Twentieth-century examples include [[Rainer Maria Rilke]]'s "Archaïscher Torso Apollos",<ref>{{cite web|url=http://unix.cc.wmich.edu/~cooneys/poems/gr/Rilke.html|title=Rainer Maria Rilke, Torso of an Archaic Apollo}}</ref> and ''[[The Shield of Achilles]]'' (1952), a poem by [[W. H. Auden]],<ref name="writingaboutart" /> which brings the tradition back to its start with an ironic retelling of the episode in Homer (see above), where [[Thetis]] finds very different scenes from those she expects. In contrast, his earlier poem "[[Musée des Beaux Arts (poem)|Musée des Beaux Arts]]" describes a particular real and very famous painting, ''[[Landscape with the Fall of Icarus]]'', thought until recently to be by rather than after [[Pieter Brueghel the Elder]], which is also described in the poem by [[William Carlos Williams]] "[[Landscape with the Fall of Icarus (poem)|Landscape with the Fall of Icarus]]".{{Clarify|date=March 2017}} The paintings of [[Edward Hopper]] have inspired many ekphrastic poems, including a prize-winning volume in French by [[Claude Esteban]] (''[[:fr:Soleil dans une pièce vide|Soleil dans une pièce vide]]'', ''Sun in an Empty Room'', 1991),<ref>Sample poem: "[https://bergerault-univ-tours.fr/doc/doc14.pdf Trois fenêtres, la nuit]" ("Night windows"), [https://bergerault-univ-tours.fr/2003-2004/Esteban%20doc14.htm notes]</ref> a collection in Catalan by [[Ernest Farrés]] (''Edward Hopper'', 2006, English translation 2010 by Lawrence Venuti), an English collection by James Hoggard ''Triangles of Light: The Edward Hopper Poems'' (Wings Press, 2009), and a collection by various poets (''The Poetry of Solitude: A Tribute to Edward Hopper'', 1995, editor [[Gail Levin (art historian)|Gail Levin]]), together with numerous individual poems; see more at {{slink|Edward Hopper|Influence}}. | + | |
| - | The poet [[Gabriele Tinti (poet)|Gabriele Tinti]] has composed a series of poems for ancient works of art including the [[Boxer at Rest]], the [[Discobolus]], [[Arundel Head]], the [[Ludovisi Gaul]], the [[Victorious Youth]],<ref>http://blogs.getty.edu/iris/poem-for-a-victorious-athlete/ [[Getty Museum]] | 2015-09-08</ref> the [[Farnese Hercules]], the Hercules by [[Scopas]],<ref>{{cite web|url=https://unframed.lacma.org/2016/03/21/giving-life-hercules-qa-gabriele-tinti-and-joe-mantegna|title=Giving Life to Hercules: Q&A with Gabriele Tinti and Joe Mantegna - Unframed|website=unframed.lacma.org|access-date=9 May 2019}}</ref> the [[Elgin marbles]] from the [[Parthenon]], the [[Barberini Faun]], the [[Doryphoros]] and many other masterpieces. | + | |
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| - | === In, or as, art history === | + | |
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| - | Since the types of objects described in classical ekphrases often lack survivors to modern times, art historians have often been tempted to use descriptions in literature as sources for the appearance of actual Greek or Roman art, an approach full of risk. This is because ekphrasis typically contains an element of competition with the art it describes, aiming to demonstrate the superior ability of words to "paint a picture". Many subjects of ekphrasis are clearly imaginary, for example those of the epics, but with others it remains uncertain the extent to which they were, or were expected to be by early audiences, at all accurate. | + | |
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| - | This tendency is by no means restricted to classical art history; the evocative but vague mentions of objects in metalwork in ''[[Beowulf]]'' are eventually always mentioned by writers on [[Anglo-Saxon art]], and compared to the treasures of [[Sutton Hoo]] and the [[Staffordshire Hoard]]. The ekphrasic writings of the lawyer turned bishop [[Asterius of Amasea]] (fl. around 400) are often cited by art historians of the period to fill gaps in the surviving artistic record. The inadequacy of most medieval accounts of art is mentioned above; they generally lack any specific details other than cost and the owner or donor, and hyperbolic but wholly vague praise. | + | |
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| - | Journalistic art criticism was effectively invented by [[Denis Diderot]] in his long pieces on the works in the [[Paris Salon]], and extended and highly pointed accounts of the major exhibitions of new art became a popular seasonal feature in the journalism of most Western countries. Since few if any of the works could be illustrated description and evocation was necessary, and the cruelty of descriptions of works disliked became a part of the style. | + | |
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| - | As [[art history]] began to become an academic subject in the 19th century, ekphrasis as [[formal analysis]] of objects was regarded as a vital component of the subject, and by no means all examples lack attractiveness as literature. Writers on art for a wider audience produced many descriptions with great literary as well as art historical merit; in English [[John Ruskin]], both the most important journalistic critic and popularizer of historic art of his day, and [[Walter Pater]], above all for his famous evocation of the ''[[Mona Lisa]]'', are among the most notable. As photography in books or on television allowed audiences a direct visual comparison to the verbal description, the role of ekphrasic commentary on the images was even perhaps increased. | + | |
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| - | Ekphrasis has also been an influence on art; for example the ekphrasis of the Shield of Achilles in Homer and other classical examples were certainly an inspiration for the elaborately decorated large serving dishes in silver or [[silver-gilt]], crowded with complicated scenes in [[relief]], that were produced in 16th century [[Mannerist]] metalwork. | + | |
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| - | === In music === | + | |
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| - | There are a number of examples of ekphrasis in music, of which the best known is probably ''[[Pictures at an Exhibition]]'', a [[suite (music)|suite]] in ten movements (plus a recurring, varied Promenade) composed for [[piano]] by the Russian composer [[Modest Mussorgsky]] in 1874, and then very popular in various arrangements for orchestra. The suite is based on real pictures, although as the exhibition was dispersed, most are now unidentified. | + | |
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| - | The first movement of ''[[Three Places in New England]]'' by [[Charles Ives]] is an ekphrasis of the [[Robert Gould Shaw Memorial]] in Boston, sculpted by [[Augustus Saint-Gaudens]]. Ives also wrote a poem inspired by the sculpture as a companion piece to the music.<ref>{{cite web|last=Mortensen|first=Scott|title=Orchestral Set No. 1: Three Places in New England – Notes|url=http://www.musicweb-international.com/Ives/WK_OS_1_Three_Places.htm|work=A Charles Ives Website|access-date=19 October 2013}}</ref> [[Rachmaninoff]]'s symphonic poem ''[[Isle of the Dead (Rachmaninoff)|Isle of the Dead]]'' is a musical evocation of [[Böcklin]]'s [[Isle of the Dead (painting)|painting of the same name]]. [[King Crimson]]'s song "[[Starless and Bible Black|The Night Watch]]", with lyrics written by [[Richard Palmer-James]], is an ekphrasis on [[Rembrandt]]'s painting ''[[The Night Watch]]''. | + | |
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| - | === Notional ekphrasis === | + | |
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| - | Notional ekphrasis may describe mental processes such as dreams, thoughts and whimsies of the imagination. It may also be one art describing or depicting another work of art which as yet is still in an inchoate state of creation, in that the work described may still be resting in the imagination of the artist before he has begun his creative work. The expression may also be applied to an art describing the origin of another art, how it came to be made and the circumstances of its being created. Finally it may describe an entirely imaginary and non-existing work of art, as though it were factual and existed in reality. | + | |
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| - | == In ancient literature == | + | |
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| - | === Greek literature === | + | |
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| - | ==== ''The Iliad'' ==== | + | |
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| - | The [[shield of Achilles]] is described by Homer in a famous example of ekphrastic poetry, used to depict events that have occurred in the past and events that will occur in the future. The shield contains images representative of the [[Cosmos]] and the inevitable fate of the city of Troy. The shield of Achilles features the following nine depictions: | + | |
| - | # The Earth, Sea, Sky, Moon and the Cosmos (484–89) | + | |
| - | # Two cities – one where a wedding and a trial are taking place, and one that is considered to be Troy, due to the battle occurring inside the city (509–40) | + | |
| - | # A field that is being ploughed (541–49) | + | |
| - | # The home of a King where the harvest is being reaped (550–60) | + | |
| - | # A vineyard that is being harvested (561–72) | + | |
| - | # A herd of cattle that is being attacked by two lions, while the Herdsman and his dogs try to scare the lions off the prize bull (573–86) | + | |
| - | # A sheep farm (587–89) | + | |
| - | # A scene with young men and women dancing (590–606) | + | |
| - | # The mighty Ocean as it encircles the shield (607–609) | + | |
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| - | ==== ''The Odyssey'' ==== | + | |
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| - | Although not written as elaborately as previous examples of ekphrastic poetry, from lines 609–614 the belt of [[Heracles|Herakles]] is described as having "marvelous works,"<ref name=":0">{{Cite book|title=The Odyssey of Homer|last=Lattimore|first=Richmond|publisher=Harper Perennial Modern Classics|year=1967|location=New York|at=lines 609–614}}</ref> such as animals with piercing eyes and hogs in a grove of trees. It also contains multiple images of battles and occurrences of manslaughter. In ''the Odyssey,'' there is also a scene where Odysseus, disguised as a beggar, must prove to his wife, Penelope, that he has proof that Odysseus is still alive. She asks him about the clothes Odysseus was wearing during the time when the beggar claims he hosted Odysseus. Homer uses this opportunity to implement more ekphrastic imagery by describing the golden brooch of Odysseus, which depicts a hound strangling a fawn that it captured.<ref name=":0" /> | + | |
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| - | ==== ''The Argonautika'' ==== | + | |
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| - | The Cloak of Jason is another example of ekphrastic poetry. In ''[[Argonautica|The Argonautika]]'',<ref>{{cite book|last1=Rhodios|first1=Apollonios|title=The Argonautika|at=lines 720–763}}</ref> Jason's cloak has seven events embroidered into it: | + | |
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| - | # The forging of Zeus' thunderbolts by the Cyclops (730-734) | + | |
| - | # The building of Thebes by the sons of Antiope (735–741) | + | |
| - | # Aphrodite with the shield of Ares (742–745) | + | |
| - | # The battle between Teleboans and the Sons of Electryon (746–751) | + | |
| - | # Pelops winning Hippodameia (752–758) | + | |
| - | # Apollo punishing Tityos (759–762) | + | |
| - | # Phrixus and the Ram (763–765) | + | |
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| - | The description of the cloak provides many examples of ekphrasis, and not only is modeled off of Homer's writing, but alludes to several occurrences in Homer's epics ''the Iliad'' and ''the Odyssey''. Jason's cloak can be examined in many ways. The way the cloak's events are described is similar to the catalogue of Women that Odysseus encounters on his trip to the Underworld.<ref name="University of Berkeley, California">{{cite journal|last1=Bulloch|first1=Anthony|title=Jason's Cloak|journal=Hermes |volume=134 |year=2006 |pages=44–68 [59]|url=https://www.academia.edu/367874|access-date=16 April 2016}}</ref> | + | |
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| - | The cloak and its depicted events lend more to the story than a simple description; in true ekphrasis fashion it not only compares Jason to future heroes such as Achilles and Odysseus, but also provides a type of foreshadowing. Jason, by donning the cloak, can be seen as a figure who would rather resort to coercion, making him a parallel to Odysseus, who uses schemes and lies to complete his voyage back to Ithaca.<ref>{{cite journal|last1=Shapiro|first1=H. A.|title=Jason's Cloak|journal=Transactions of the American Philological Association|date=1 January 1980|volume=110|pages=263–286|doi=10.2307/284222|jstor=284222}}</ref> | + | |
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| - | Jason also bears similarities to Achilles: by donning the cloak, Jason is represented as an Achillean heroic figure due to the comparisons made between his cloak and the shield of Achilles. He is also takes up a spear given to him by Atalanta, not as an afterthought, but due to his heroic nature and the comparison between himself and Achilles.<ref>{{cite book|last1=Clauss|first1=James|title=The Best of the Argonauts|date=1993|publisher=The University of California Press|page=120|url=http://publishing.cdlib.org/ucpressebooks/view?docId=ft3d5nb1mh&chunk.id=d0e7664&toc.id=&brand=ucpress|access-date=16 April 2016}}</ref> | + | |
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| - | While Jason only wears the cloak while going to meet with Hypsipyle, it foreshadows the changes that Jason will potentially undergo during his adventure. Through the telling of the scenes on the cloak, Apollonios relates the scenes on the cloak as virtues and morals that should be upheld by the Roman people, and that Jason should learn to live by. Such virtues include the piety represented by the Cyclops during the forging of Zeus' thunderbolts.<ref>{{cite journal|last1=Shapiro|first1=H. A.|title=Jason's Cloak|journal=Transactions of the American Philological Association |date=1 January 1980|volume=110|page=265|doi=10.2307/284222|jstor=284222}}</ref> This is also reminiscent of the scene in ''the Iliad'' when Thetis goes to see Hephaestus, and requisitions him to create a new set of armor for her son Achilles. Before he began creating the shield and armor, Hephaestus was forging 20 golden tripods for his own hall, and in the scene on Jason's cloak we see the Cyclops performing the last step of creating the thunderbolts for Zeus.<ref>{{cite book|last1=Clauss|first1=James|title=The Best of the Argonauts|page=122|url=http://publishing.cdlib.org/ucpressebooks/view?docId=ft3d5nb1mh&chunk.id=d0e7664&toc.id=&brand=ucpress}}</ref> | + | |
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| - | === Roman literature === | + | |
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| - | ==== ''The Aeneid'' ==== | + | |
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| - | ''[[Aeneid|The Aeneid]]'' is an epic that was written by Virgil during the reign of Augustus, the first Emperor of Rome. While the epic itself mimics Homer's works, it can be seen as propaganda for Augustus and the new Roman empire.<ref name=":1">{{Cite journal|last=Williams|first=R. D.|date=1981|title=The Shield of Aeneas|jstor=41591854|journal=Vergilius|issue=27|pages=8–11}}</ref> The shield of Aeneas is described in book eight, from lines 629–719.<ref name=":2" /> This shield was given to him by his mother, Venus, after she asked her husband Vulcan to create it.<ref name=":2">{{Cite book|title=The Aeneid of Virgil|last=Ahl|first=Frederick|publisher=Oxford World's Classics|year=2007|isbn=978-0-19-923195-9|location=Great Britain|at=lines 372–406}}</ref> This scene is almost identical to Thetis, the mother of Achilles, asking Hephaestus to create her son new weapons and armor for the battle of Troy. | + | |
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| - | The difference in the descriptions of the two shields are easily discernible; the shield of Achilles depicts many subjects, whereas the shield made for Aeneas depicts the future that Rome will have, containing propaganda in favor of the Emperor Augustus.<ref name=":1" /> Much like other ekphrastic poetry, it depicts a clear catalogue of events: | + | |
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| - | # The She Wolf and the suckling Romulus and Remus (629–634) | + | |
| - | # The Rape of the Sabine Women (635–639) | + | |
| - | # Mettius pulled apart by horses (640–645) | + | |
| - | # Invasion of Lars Parsona (646–651) | + | |
| - | # Manlius guarding the capitol (652–654) | + | |
| - | # Gauls invading Rome (655–665) | + | |
| - | # Tartarus with Cato and Catiline (666–670) | + | |
| - | # The Sea around the width of the shield (671–674) | + | |
| - | # The Battle of Actium (675–677) | + | |
| - | # Augustus and Agrippa (678–684) | + | |
| - | # Antony and Cleopatra (685–695) | + | |
| - | # Triumph (696–719) | + | |
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| - | There is speculation as to why Virgil depicted certain events, while completely avoiding others such as Julius Caesar's conquest of Gaul. Virgil clearly outlined the shield chronologically, but scholars argue that the events on the shield are meant to reflect certain Roman values that would have been of high importance to the Roman people and to the Emperor.<ref>{{Cite web|url=https://classicsvic.files.wordpress.com/2014/01/penwillvol18.pdf|title=Reading Aeneas' Shield|last=Penwill|first=John}}</ref> These values may include ''virtus, clementia, iustitia'', and ''pietas'', which were the values inscribed on a shield given to Augustus by the Senate.<ref>{{Cite journal|last=Harrison|first=S. J.|date=November 1997|title=The Survival and Supremacy of Rome: The Unity of the Shield of Aeneas|url=http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=8428342&fileId=S0075435800058081|journal=The Journal of Roman Studies|volume=87|pages=70–76|doi=10.1017/S0075435800058081|access-date=20 April 2016}}</ref> This instance of ekphrasitc poetry may be Virgil's attempt to relate more of his work to Augustus. | + | |
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| - | Earlier in the epic, when Aeneas travels to Carthage, he sees the temple of the city, and on it are great works of art that are described by the poet using the ekphrastic style. Like the other occurrences of ekphrasis, these works of art describe multiple events. Out of these, there are eight images related to the Trojan War:<ref name=":2" /> | + | |
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| - | # Depictions of Agamemnon and Menelaus, Priam and Achilles (459) | + | |
| - | # Greeks running from Trojan soldiers (468) | + | |
| - | # The sacking of the tents of Rhesus and the Thracians, and their deaths by Diomedes (468–472) | + | |
| - | # Troilus being thrown from his Chariot as he flees from Achilles (473–478) | + | |
| - | # The women of Troy in lamentation, praying to the gods to help them (479–482) | + | |
| - | # Achilles selling Hektor's body (483–487) | + | |
| - | # Priam begging for the return of his son, with the Trojan commanders nearby (483–488) | + | |
| - | # Penthesilea the Amazon, and her fighters (489–493) | + | |
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| - | Another significant ekphrasis in the Aeneid appears on the [[baldric]] of Pallas (Aeneid X.495-505). The baldric is decorated with the murder of the sons of Aegyptus by their cousins, the Danaïds, a tale dramatized by [[Aeschylus]]. Pallas is killed by the warrior Turnus, who plunders and wears the baldric. At the climax of the poem, when Aeneas is on the point of sparing Turnus's life, the sight of the baldric changes the hero's mind. The significance of the ekphrasis is hotly debated.<ref>{{cite journal |last1=Olive|first1=Peter|date=August 2021 |title=Red Herrings and Perceptual Filters: Problems and Opportunities for Aeschylus’s Supplices|journal=Arethusa |volume=54 |pages=1-29|doi=10.1353/are.2021.0000}}</ref> | + | |
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| - | ==== ''The Metamorphoses'' ==== | + | |
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| - | There are several examples of ekphrasis in the ''[[Metamorphoses]]''; one in which Phaeton journeys to the temple of the sun to meet his father Phoebus. When Phaeton gazes upon the temple of the sun, he sees the following carvings:<ref>{{Cite book|title=Metamorphoses|last=Martin|first=Charles|publisher=W. W. Norton and Company|year=2010|pages=1–23}}</ref> | + | |
| - | # The seas that circle the Earth, the surrounding lands, and the sky (8–9) | + | |
| - | # The gods of the sea and the Nymphs (10–19) | + | |
| - | # Scenes of men, beasts, and local gods (20–21) | + | |
| - | # Twelve figures of the Zodiac, six on each side of the door to the temple (22–23) | + | |
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| - | == Other aspects == | + | |
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| - | === Educational value of using ekphrasis in teaching literature === | + | |
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| - | The rationale behind using examples of ekphrasis to teach literature is that once the connection between a poem and a painting are recognized for example, the student's emotional and intellectual engagement with the literary text is extended to new dimensions. The literary text takes on new meaning and there is more to respond to because another art form is being evaluated.<ref>Milner, Joseph O'Beirne, and Lucy Floyd Morcock Milner. Bridging English. 2nd ed. Upper Saddle River: Prentice, 1999. pp. 162–163.</ref> In addition, as the material taught has both a visual and linguistic basis new connections of understanding are formed in the student's brain thus creating a stronger foundation for understanding, remembrance and internalization. Using ekphrasis to teach literature can be done through the use of [[higher order thinking]] skills such as distinguishing different perspectives, interpreting, inferring, sequencing, compare and contrast and evaluating.{{citation needed|date=August 2021}} | + | |
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| - | === Literature examples === | + | |
| - | * Roberto E. Aras: "«Ecfrasis» y «sinfronismos» en la ruta de Ortega hacia ''El Quijote''" ("Ekphrasis" and "synphronism" on Ortega's route to ''Don Quixote''), in ''Disputatio. Philosophical Research Bulletin'' 8:10 (December 2019): 0-00 (18 p.) | + | |
| - | * Andrew Sprague Becker: ''The Shield of Achilles and the Poetics of Ekphrasis''. Lanham, MD: [[Rowman & Littlefield]], 1995. {{ISBN|0-8476-7998-5}} | + | |
| - | * Emilie Bergman: ''Art Inscribed: Essays on Ekphrasis in Spanish Golden Age Poetry''. Cambridge: [[Harvard University Press]], 1979. {{ISBN|0-674-04805-9}} | + | |
| - | * Gottfried Boehm and Helmut Pfotenhauer: ''Beschreibungskunst, Kunstbeschreibung: Ekphrasis von der Antike bis zur Gegenwart''. München: W. Fink, 1995. {{ISBN|3-7705-2966-9}} | + | |
| - | * [[Siglind Bruhn]]: ''Musical Ekphrasis: Composers Responding to Poetry and Painting''. Hillsdale, NY: [[Pendragon Press]], 2000. {{ISBN|1-57647-036-9}} | + | |
| - | * [[Siglind Bruhn]]: ''Musical Ekphrasis in Rilke's Marienleben''. Amsterdam/Atlanta: [[Rodopi Publishers]], 2000. {{ISBN|90-420-0800-8}} | + | |
| - | * [[Siglind Bruhn]]: "A Concert of Paintings: 'Musical Ekphrasis' in the Twentieth Century," in ''Poetics Today'' 22:3 (Herbst 2001): 551–605. ISSN 0333-5372 | + | |
| - | * [[Siglind Bruhn]]: ''Das tönende Museum: Musik interpretiert Werke bildender Kunst''. Waldkirch: Gorz, 2004. {{ISBN|3-938095-00-8}} | + | |
| - | * [[Siglind Bruhn]]: "Vers une méthodologie de l'ekphrasis musical," in ''Sens et signification en musique'', ed. by Márta Grabócz and Danièle Piston. Paris: Hermann, 2007, 155–176. {{ISBN|978-2-7056-6682-8}} | + | |
| - | * Siglind Bruhn, ed.: ''Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis'' [Interplay: Music in Interdisciplinary Dialogue, vol. 6]. Hillsdale, NY: Pendragon Press, 2008. {{ISBN|978-1-57647-140-1}} | + | |
| - | *[[Frederick A. de Armas]]: ''Ekphrasis in the Age of Cervantes''. Lewisburg: [[Bucknell University Press]], 2005. {{ISBN|0-8387-5624-7}} | + | |
| - | * [[Frederick A. de Armas]]: ''Quixotic Frescoes: Cervantes and Italian Renaissance Art''. Toronto: [[University of Toronto Press]], 2006. {{ISBN|978-1-4426-1031-6}} | + | |
| - | * Robert D. Denham: ''Poets on Paintings: A Bibliography''. (Jefferson, NC: McFarland, 2010) {{ISBN|978-0-7864-4725-1}} | + | |
| - | * Hermann Diels: {{lang|de|Über die von Prokop beschriebene Kunstuhr von Gaza, mit einem Anhang enthaltend Text und Übersetzung der Ekphrasis horologiou de Prokopius von Gaza}}. Berlin, G. Reimer, 1917. | + | |
| - | * Barbara K Fischer: ''Museum Mediations: Reframing Ekphrasis in Contemporary American Poetry''. New York: [[Routledge]], 2006. {{ISBN|978-0-415-97534-6}} | + | |
| - | * Claude Gandelman: ''Reading Pictures, Viewing Texts''. Bloomington: [[Indiana University Press]], 1991. {{ISBN|0-253-32532-3}} | + | |
| - | * [[Jean Howard Hagstrum|Jean H. Hagstrum]]: ''The Sister Arts: The Tradtition of Literary Pictorialism and English Poetry from Dryden to Gray''. Chicago: The University of Chicago Press, 1958. | + | |
| - | * James Heffernan: ''Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery''. Chicago: University of Chicago Press, 1993. {{ISBN|0-226-32313-7}} | + | |
| - | * John Hollander: ''The Gazer's Spirit: Poems Speaking to Silent Works of Art''. Chicago: University of Chicago Press, 1995. {{ISBN|0-226-34949-7}} | + | |
| - | * Gayana Jurkevich: ''In pursuit of the natural sign: Azorín and the poetics of Ekphrasis''. Lewisburg, PA: Bucknell University Press, 1999. {{ISBN|0-8387-5413-9}} | + | |
| - | * Mario Klarer: ''Ekphrasis: Bildbeschreibung als Repräsentationstheorie bei Spenser, Sidney, Lyly und Shakespeare''. Tübingen: Niemeyer, 2001. {{ISBN|3-484-42135-5}} | + | |
| - | * Gisbert Kranz: ''Das Bildgedicht: Theorie, Lexikon, Bibliographie'', 3 Bände. Köln: Böhlau, 1981–87. {{ISBN|3-412-04581-0}} | + | |
| - | * Gisbert Kranz: ''Meisterwerke in Bildgedichten: Rezeption von Kunst in der Poesie''. Frankfurt: Peter Lang, 1986. {{ISBN|3-8204-9091-4}} | + | |
| - | * Gisbert Kranz: ''Das Architekturgedicht''. Köln: Böhlau, 1988. {{ISBN|3-412-06387-8}} | + | |
| - | * Gisbert Kranz: ''Das Bildgedicht in Europa: Zur Theorie und Geschichte einer literarischen Gattung''. Paderborn: Schöningh, 1973. {{ISBN|3-506-74813-0}} | + | |
| - | * [[Murray Krieger]]: ''Ekphrasis: The Illusion of the Natural Sign''. Baltimore: [[Johns Hopkins University Press]], 1992. {{ISBN|0-8018-4266-2}} | + | |
| - | * Norman Land: ''The Viewer as Poet: The Renaissance Response to Art''. University Park, PA: [[Pennsylvania State University Press]], 1994. {{ISBN|0-271-01004-5}} | + | |
| - | * Cecilia Lindhé, 'Bildseendet föds i fingertopparna'. Om en ekfras för den digitala tidsålder, Ekfrase. Nordisk tidskrift för visuell kultur, 2010:1, p. 4–16. ISSN Online: 1891-5760 ISSN Print: 1891-5752 | + | |
| - | * Hans Lund: ''Text as Picture: Studies in the Literary Transformation of Pictures''. Lewiston, NY: E. Mellen Press, 1992 (originally published in Swedish as ''Texten som tavla'', Lund 1982). {{ISBN|0-7734-9449-9}} | + | |
| - | * Alexander Medvedev: ''Tiziano’s «Denarius of Caesar» and F.M. Dostoevsky’s «[[The Grand Inquisitor]]»: on the Problem of Christian Art'' In: The Solovyov Research, 2011, No. 3, (31). P. 79–90. | + | |
| - | * Michaela J. Marek: ''Ekphrasis und Herrscherallegorie: Antike Bildbeschreibungen im Werk Tizians und Leonardos''. Worms: Werner'sche Verlagsgesellschaft, 1985. {{ISBN|3-88462-035-5}} | + | |
| - | * [[J. D. McClatchy]]: ''Poets on Painters: Essays on the Art of Painting by Twentieth-Century Poets''. Berkeley: University of California Press, 1988. {{ISBN|978-0-520-06971-8}} | + | |
| - | * Hugo Méndez-Ramírez: ''Neruda's Ekphrastic Experience: Mural Art and Canto general''. Lewisburg, PA: [[Bucknell University Press]], 1999. {{ISBN|0-8387-5398-1}} | + | |
| - | *Richard Meek: ''Narrating the Visual in Shakespeare''. Burlington, VT: [[Ashgate Publishing]], 2009. {{ISBN|978-0-7546-5775-0}} | + | |
| - | * [[W.J.T. Mitchell]]: ''Picture Theory: Essays on Verbal and Visual Representation''. Chicago: [[University of Chicago Press]], 1994. {{ISBN|0-226-53231-3}} | + | |
| - | * Margaret Helen Persin: ''Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish Poetry''. Lewisburg, PA: Bucknell University Press, 1997. {{ISBN|0-8387-5335-3}} | + | |
| - | * Michael C J Putnam: ''Virgil's Epic Designs: Ekphrasis in the Aeneid''. New Haven: [[Yale University Press]], 1998. {{ISBN|0-300-07353-4}} | + | |
| - | * Christine Ratkowitsch: ''Die poetische Ekphrasis von Kunstwerken: eine literarische Tradition der Grossdichtung in Antike, Mittelalter und früher Neuzeit''. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 2006. {{ISBN|978-3-7001-3480-0}} | + | |
| - | * Valerie Robillard and Els Jongeneel (eds.): ''Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis''. Amsterdam: [[VU University Press]], 1998. {{ISBN|90-5383-595-4}} | + | |
| - | * Maria Rubins: ''Crossroad of Arts, Crossroad of Cultures: Ekphrasis in Russian and French Poetry''. New York: [[Palgrave Macmillan|Palgrave]], 2000. {{ISBN|0-312-22951-8}} | + | |
| - | * Grant F. Scott: ''The Sculpted Word: Keats, Ekphrasis, and the Visual Arts''. Hanover, NH: [[University Press of New England]], 1994. {{ISBN|0-87451-679-X}} | + | |
| - | * Grant F. Scott: "Ekphrasis and the Picture Gallery", in ''Advances in Visual Semiotics''. Ed. Thomas A. Sebeok and Jean Umiker-Sebeok. New York and Berlin: [[W. de Gruyter]], 1995. 403–421. | + | |
| - | * Grant F. Scott: "Copied with a Difference: Ekphrasis in William Carlos Williams' ''Pictures from Brueghel''". ''Word & Image'' 15 (January–March 1999): 63–75. | + | |
| - | * Mack Smith: ''Literary Realism and the Ekphrastic Tradition''. University Park: Pennsylvania State U Press, 1995. {{ISBN|0-271-01329-X}} | + | |
| - | * [[Leo Spitzer]]: "The 'Ode on a Grecian Urn', or Content vs. Metagrammar," in ''Comparative Literature'' 7. Eugene, OR: [[University of Oregon Press]], 1955, 203–225. | + | |
| - | *Ryan J. Stark, ''Rhetoric, Science, and Magic in Seventeenth-Century England'' (Washington, DC: [[The Catholic University of America Press]], 2009), 181–90. | + | |
| - | * Iman Tavassoly: [[Rumi in Manhattan: An Ekphrastic Collection of Poetry and Photography]], 2018. {{ISBN|978-1984539908}} | + | |
| - | * Peter Wagner: ''Icons, Texts, Iconotexts: Essays on Ekphrasis and Intermediality''. Berlin, New York: W. de Gruyter, 1996. {{ISBN|3-11-014291-0}} | + | |
| - | * Haiko Wandhoff: ''Ekphrasis: Kunstbeschreibungen und virtuelle Räume in der Literatur des Mittelalters''. Berlin, New York: De Gruyter, 2003. {{ISBN|978-3-11-017938-5}} | + | |
| - | * Robert Wynne: ''Imaginary Ekphrasis''. Columbus, OH: Pudding House Publications, 2005. {{ISBN|1-58998-335-1}} | + | |
| - | * Tamar Yacobi, "The Ekphrastic Figure of Speech," in Martin Heusser et al. (eds.), ''Text and Visuality. Word and Image Interactions 3,'' Amsterdam: Rodopi, 1999, {{ISBN|90-420-0726-5}}. | + | |
| - | * Tamar Yacobi, "Verbal Frames and Ekphrastic Figuration," in Ulla-Britta Lagerroth, Hans Lund and Erik Hedling (eds.), ''Interart Poetics. Essays on the Interrelations of the Arts and Media,'' Amsterdam: Rodopi, 1997, {{ISBN|90-420-0202-6}}. | + | |
| - | * {{cite journal |last=Santarelli |first=Cristina |title=L'ékphrasis come sussidio all'iconografia musicale: Funzione metanarrative delle immagini nel romanzo modern e contemporaneo |journal=Music in Art: International Journal for Music Iconography |volume=44 |issue=1–2 |date=2019 |pages=221–238 |issn=1522-7464 }} | + | |
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| - | == See also == | + | |
| - | * [[Blazon]] | + | |
| - | + | ||
| - | == References == | + | |
| - | {{Reflist}} | + | |
| - | + | ||
| - | == External links == | + | |
| - | *[https://web.archive.org/web/20060907070949/http://www.ipfw.edu/phil/faculty/Strayer/ArtAndRepresentation.ppt#334,1,ART Discussion of Form] | + | |
| - | *[http://www-personal.umich.edu/~siglind/ekphr2.htm Essay on musical ekphrasis] | + | |
| - | *[http://www.maiermuseum.org/ekphrastic/ Maier Museum of Art at Randolph College Ekphrastic Poetry Web Page] | + | |
| - | *[http://www.webwinds.com/myth/hephaestus2.htm Hephaestus Starts Achilles' Shield] | + | |
| - | *[https://web.archive.org/web/20060423084115/http://www.people.virginia.edu/~djr4r/ashbery.html Self-Portrait in a Convex Mirror, Ashbery] | + | |
| - | *[http://theformalist.org/ebooks/index12.html#carter/ Ekphrastic poem] by [[Jared Carter (poet)|Jared Carter]] on the [[Lorado Taft]] sculpture, "[[The Solitude of the Soul]]." | + | |
| - | *[http://sites.google.com/site/manlyingonawall/ Man Lying on a Wall] | + | |
| - | *[http://ekphrasisverse.blogspot.co.uk/ Examples of Ekphrasis verse] | + | |
| - | *[https://www.maryevans.com/poetry Ekphrastic blog, Poems and Pictures] | + | |
| - | *[https://martyncrucefix.com/2017/02/03/14-ways-to-write-an-ekphrastic-poem/ Martyn Crucefix on 14 Ways to Write an Ekphrastic Poem] | + | |
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| - | [[Category:Rhetorical techniques]] | + | |
| - | [[Category:Visual arts theory]] | + | |
| - | [[Category:Figures of speech]] | + | |
| - | [[Category:Works based on art]] | + | |
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| + | The writings of Landon are transitional between Romanticism and the Victorian Age. Her first major breakthrough came with ''The Improvisatrice'' and thence she developed the metrical romance towards the Victorian ideal of the Victorian monologue, casting her influence on [[Elizabeth Barrett Browning]], [[Robert Browning]] and [[Christina Rossetti]]. | ||
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Revision as of 13:28, 6 January 2022
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Letitia Elizabeth Landon (14 August 1802 – 15 October 1838) was an English poet and novelist, better known by her initials L.E.L.
The writings of Landon are transitional between Romanticism and the Victorian Age. Her first major breakthrough came with The Improvisatrice and thence she developed the metrical romance towards the Victorian ideal of the Victorian monologue, casting her influence on Elizabeth Barrett Browning, Robert Browning and Christina Rossetti.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Letitia Elizabeth Landon" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
