This book offers a comprehensive reassessment of ekphrasis: the verbal representation of visual art. Ekphrasis has been traditionally regarded as a form of paragone (competition) between word and image. This interdisciplinary collection of essays seeks to complicate this critical paradigm and proposes a more reciprocal model of ekphrasis that involves an encounter or exchange between visual and textual cultures. This critical and theoretical shift demands a new form of ekphrastic poetics, which is less concerned with representational and institutional struggles, and more concerned with ideas of ethics, affect and intersubjectivity. Ekphrastic encounters brings together leading scholars working in the field of word-and-image studies and offers a fresh exploration of ekphrastic texts from the Renaissance to the present day. Taken together, the chapters establish a new set of theoretical frameworks for exploring the ekphrastic encounter.

Examining a wide range of ekphrastic poems, David Kennedy argues that contemporary British poets writing out of both mainstream and avant-garde traditions challenge established critical models of ekphrasis with work that is more complex than representational or counter-representational responses to paintings in museums and galleries. Even when the poem appears to be straightforwardly representational, it is often selectively so, producing a 'virtual' work that doesn't exist in actuality. Poets such as Kelvin Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests, relish the ekphrastic encounter as one in which word and image become mutually destabilizing. Similarly, other poets engage with the source artwork as a performance that participates in the ethical realm. Showing that the ethical turn in ekphrastic poetry is often powerfully gendered, Kennedy also surveys a range of ekphrastic poets from the Renaissance and nineteenth century to trace a tradition of female ekphrastic poetry that includes Pauline Stainer and Frances Presley. Kennedy concludes with a critique of ekphrastic exercises in creative writing teaching, proposing that ekphrastic writing that takes greater account of performance spectatorship may offer more fruitful models for the classroom than the narrativizing of images.

Examining a wide range of ekphrastic poems, David Kennedy argues that contemporary British poets writing out of both mainstream and avant-garde traditions challenge established critical models of ekphrasis with work that is more complex than representational or counter-representational responses to paintings in museums and galleries. Even when the poem appears to be straightforwardly representational, it is often selectively so, producing a 'virtual' work that doesn't exist in actuality. Poets such as Kelvin Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests, relish the ekphrastic encounter as one in which word and image become mutually destabilizing. Similarly, other poets engage with the source artwork as a performance that participates in the ethical realm. Showing that the ethical turn in ekphrastic poetry is often powerfully gendered, Kennedy also surveys a range of ekphrastic poets from the Renaissance and nineteenth century to trace a tradition of female ekphrastic poetry that includes Pauline Stainer and Frances Presley. Kennedy concludes with a critique of ekphrastic exercises in creative writing teaching, proposing that ekphrastic writing that takes greater account of performance spectatorship may offer more fruitful models for the classroom than the narrativizing of images.

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.

The Routledge Companion to Literature and Art explores the links between literature and visual art from classical ekphrasis through to contemporary experimental forms. The collection’s engagement with diverse literary and cultural artifacts offers a comprehensive survey of the vibrant interrelationships that currently inform literary studies and the arts. Featuring four sections, the first part provides an overview of theoretical approaches to art and literature from philosophy and aesthetics through to cognitive neuroscience. Part two examines one of the most important intersections between text and image: the workings of ekphrasis across poetry, fiction, drama, comics, life and travel writing, and architectural treatises. Parts three and four consider intermedial crossings from antiquity to the present. The contributors examine the rich intermedial experiments that range from manuscript studies to infographics in graphic narratives, illuminating the vibrant ways in which texts have intersected with illustration, music, dance, architecture, painting, photography, media installations, and television. Throughout this dynamic collection of 37 chapters, the contributors evolve existing critical debates in innovative new directions. The volume will be a critical resource for advanced undergraduate and graduate students, as well as specialist scholars working in literary studies, philosophy of art, text and image studies, and visual culture. The Introduction and Chapters 10, 14 and 37 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution (CC-BY) 4.0 license.

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.

"A river's edge, if approached too close, can sweep a body beyond itself." In The Fabulous Ekphrastic Fantastic!, Miah Jeffra perfects apostrophe as canticle, a host of heroes beckoning the reader a knee deeper into the waters of another selfhood, Madonna, Mary Shelley, Felix Gonzalez Torres, Plato, and Jeffra's mother among them. At once gossamer and gauze, Jeffra explores the nature of gender, sexuality, aesthetics, and love, taking a tiny hammer to the stability of the limits of perception, troubling the tether between perception and memory. At once memoir and cultural criticism, The Fabulous Ekphrastic Fantastic! discovers itself as a book about forgiveness, family, and the truths we find in "the lightness of a door," "the probability of a radio," the long line between one story and another.