Includes bibliographical references Cover; Table of Contents; PREFACE 1; INTRODUCTION 5; CHAPTER ONE -- The Genesis of Ekphrasis 15; I. The Analogy between Poetry and Painting in Classical Antiquity 15; II. G.E. Lessing's Distinction between the Spatial and the Temporal Arts in Laocoön and Modern Literary Criticism on the Issue 23; CHAPTER TWO -- The Interrelation of Modern Ekphrasis with Cognition, Perception, and Memory 35; CHAPTER THREE -- Temporal Movement Captured in Marcel Duchamp's Painting and X.J. Kennedy's Poem "Nude Descending A Staircase" 45 CHAPTER FOUR -- A Poet's Dialogue with a Painter on Art: A. Cronin's Poem, "Lines for a Painter" and P. Swift's "Tree in Camden Town" 53CHAPTER FIVE -- Sylvia Plath's Subjective Reactionary Ekphrasis in "The Disquieting Muses" and Giorgio de Chirico's Painting of the Same Name 63; CHAPTER SIX -- Michael Hamburger's Poem, "A Painter Painted" and Lucien Freud's "Francis Bacon" 77; CHAPTER SEVEN -- The Spatio-Temporal Dimension of Literary Iconicity in W.C. Williams' "The Pot of Flowers" and Charles Demuth's "Tuberoses" 87 CHAPTER EIGHT -- A Semiotic Comparison between Linguistic and Pictorial Signs 105CHAPTER NINE -- The Sign-Thing Interaction in Howard Nemerov's Poem "The Painter Dreaming in the Scholar's House", Paul Klee's "Mountain Flora" and Anton Ehrenzweig's "Unconscious Scanning" 113; CHAPTER TEN -- The Seeds of Post-Modernism: Jacques Derrida, Frank Stella and John Ashbery's "The Painter" 131; CONCLUSION 145; BIBLIOGRAPHY 167 |
