This book provides a stylistic and cognitive poetic account of ekphrastic poetry (poetry whose subject matter is predominantly artworks and images), examining the linguistic processes through which works of art can become literary objects. The author sheds light on the workings of ekphrasis at a textual level, while also considering the cognitive and psychological effects of reading ekphrastic poems, developing cognitive and stylistic analytical frameworks grounded on the four principles that govern ekphrasis: representation, narrativization, transposition, and collaboration. This book will be of interest to academics and practitioners in various fields, including literary critics, art critics, rhetoricians, poets, visual artists, and stylisticians.
Author(s): Maria-Eirini Panagiotidou
Publisher: Palgrave Macmillan
Year: 2022
Language: English
Pages: 276
City: Cham
Preface
Acknowledgements
Contents
List of Figures
1 Introduction
1.1 Motivations and Aims
1.2 Stylistics
1.3 Intermediality and Multimodality
1.4 Structure of the Book
1.5 Concluding Remarks
Bibliography
2 Ekphrasis: Past and Present
2.1 The Origins of Ekphrasis
2.2 The Reinvention of Ekphrasis in the Twentieth Century
2.3 Twenty-First Century: Beyond the Paragone
2.4 Contemporary Ekphrasis: Beyond the Written Word
2.5 Ekphrasis and Stylistics
2.6 Concluding Remarks
Bibliography
3 Ekphrastic Qualities and Ekphrastic Agents
3.1 A New Definition of Ekphrasis
3.2 Four Ekphrastic Qualities
3.2.1 Previous Attempts at Categorization
3.2.2 The Four Ekphrastic Qualities
3.3 Agents of Ekphrasis
3.4 Text World Theory and the Agents of Ekphrasis
3.4.1 Text World Theory: A Brief Overview
3.4.2 A Text-World Theory Analysis of “Edward Hopper and the House by the Railroad (1925)”
3.5 Concluding Remarks
References
4 Representation and Narrativization in Ekphrasis
4.1 The Representational Quality of Ekphrasis
4.1.1 The Title of the Poem
4.1.2 The Body of the Poem
4.1.2.1 Lists that Enumerate Features
4.1.2.2 Similes
4.1.2.3 Emphasis on a Place and Stasis/Lack of Temporality
4.2 The Quality of Narrativization
4.2.1 Narrative: Basic Terms
4.2.2 The Properties of Narrativization in Ekphrastic Poetry
4.2.2.1 Sequentiality
4.2.2.2 Mediacy
4.2.2.3 Experientiality
4.2.3 Narrativization in Ekphrasis: A Case Study
4.3 Concluding Remarks
References
5 Transposition: Cognitive Facets of the Ekphrastic Experience
5.1 Transposition as Quality of Ekphrasis
5.2 Transposition and Degrees of Immersion: Linguistic Traces
5.2.1 Deixis
5.2.2 Enactivism
5.2.3 Image Schemas and the Sense of Containment
5.3 Iconicity as a Means of Transportation
5.3.1 Iconicity and Ekphrasis at a Morphosyntactic Level
5.3.2 Iconicity and Ekphrasis at a Phonological Level
5.3.3 Iconicity and Ekphrasis at a Graphological Level
5.4 Concluding Remarks
Bibliography
6 Collaborative Ekphrasis: Multimodal Interplay
6.1 Back to the Basics: Word-Image Relations
6.2 The Ekphrastic Quality of Collaboration
6.3 Synchronicity and Diachronicity in Ekphrastic Collaboration
6.4 Multimodal Stylistics and Collaborative Ekphrasis: The fascinating case of Her Read: A Graphic Poem
6.4.1 Her Read: A Graphic Poem
6.4.2 Multimodal Stylistics
6.4.3 Connecting Semiosis and Cognition
6.5 A Semiotically Informed Cognitive Poetic Analysis of Her Read
6.6 Concluding Remarks
Bibliography
7 Conclusions
7.1 Contributions to Literary Criticism and Stylistics
7.2 Future Directions
Bibliography
Index
