Beyond the Imagery: The Encounters of Kierkegaard and Dostoevsky with an Image of the Dead Christ

Through an analysis of Kierkegaard’s and Dostoevsky’s approaches to the theme of the death of Christ – one of the major leitmotifs in the debate of their contemporaries conveyed through theological and philosophical considerations, but also expressed in novels and in art – I show how the thinkers comprehended and articulated in their works the religious challenges awaiting the modern man

Artefacts and Errors: Acknowledging Issues of Representation in the Digital: Imaging of Ancient Texts

It is assumed, in palaeography, papyrology and epigraphy, that a certain amount of uncertainty is inherent in the reading of damaged and abraded texts. Yet we have not really grappled with the fact that, nowadays, as many scholars tend to deal with digital images of texts, rather than handling the texts themselves, the procedures for creating digital images of texts can insert further uncertainty into the representation of the text created. Technical distortions can lead to the unintentional introduction of ‘artefacts’ into images, which can have an effect on the resulting representation. If we cannot trust our digital surrogates of texts, can we trust the readings from them? How do scholars acknowledge the quality of digitised images of texts? Furthermore, this leads us to the type of discussions of representation that have been present in Classical texts since Plato: digitisation can be considered as an alternative form of representation, bringing to the modern debate of the use of digital technology in Classics the familiar theories of mimesis (imitation) and ekphrasis (description): the conversion of visual evidence into explicit descriptions of that information, stored in computer files in distinct linguistic terms, with all the difficulties of conversion understood in the ekphratic process. The community has not yet considered what becoming dependent on digital texts means for the field, both in practical and theoretical terms. Issues of quality, copying, representation, and substance should be part of our dialogue when we consult digital surrogates of documentary material, yet we are just constructing understandings of what it means to rely on virtual representations of artefacts. It is necessary to relate our understandings of uncertainty in palaeography and epigraphy to our understanding of the mechanics of visualization employed by digital imaging techniques, if we are to fully understand the impact that these will have

Ekphrasis

Don DeLillo frequently incorporates ekphrasis in his fiction, that is, the verbal representation of visual representations. These interactions between words and images sometimes replicate the dominant tradition of literary ekphrasis, and at other times resist or subvert the conventions in interesting ways. This chapter analyzes DeLillo\u27s use of ekphrasis in the novels Mao II, Falling Man, and Zero K

earthquakes + tsunamis (a poetic diptych)

What follows is pair of found poems created by the practice of mining the writings of other authors to form a new work, a piece of language art. This process shares similarities with postmodern artistic practices including collage, appropriation, sampling, remixing, and repurposing. Source materials for found poems can include other poems, novels, newspaper articles, magazine stories, obituaries, letters—almost anything. For these particular poems, the source materials are academic educational research articles about geological fault zones and earthquakes. The majority of the text in these poems is taken ver- batim from their original articles and used in the order of appear- ance, with a few additions and alterations

Landscape and reality in Apuleius' Metamorphoses

Postprin

El espejo de la ekphrasis : Más acá de la imagen. Más allá del texto.

Desde la Segunda Sofística la ekphrasis, descripción literaria de las imágenes, ha sido asimilada. Este trabajo propone una nueva ekphrasis desde la crítica de arte, en un alegato a favor de la descripción, ya sea como elemento constitutivo de la crítica o como recurso propedéutico. También se estudiará la hypotiposis, como el proceso de conformación de la imagen pictórica por medio de las palabras. Tanto la ekphrasis como la hypotiposis tienen su base en la descripción. Desde la mirada de la crítica se vinculan tres aspectos sobre el desarrollo de la ekphrasis. En primer lugar, el autor se ocupa de la relación entre lo descriptivo y lo narrativo; en segundo lugar, de los intercambios entre títulos y obras; y, por último, señala las tensiones entre las funciones de la descripción y de la interpretación. Se discutirá la vigencia de la ekphrasis frente al hecho artístico contemporáneo, tomando en consideración el principio de incompletud de G.C. Argan y el principio de transparencia de S. Sontag. La relación entre imagen y texto es entendida como un doble camino de paralelismos y entrecruzamientos que constituye parte del fundamento epistemológico de la crítica.Since the Second Sophistry the ekphrasis, the literary description of images, has been assimilated. From the point of view of art criticism the author of this work proposes a new ekphrasis in a defense of description, like a constitutive element of criticism or propedeutic resource. The hypotiposis, the formation of pictorial images through words, will be also studied. In the base of the ekphrasis, as in the hypotiposis, is the description. This work leads us through three related aspects of the development of the ekphrasis: the relations between description and narration; the exchanges between titles and works; and finally, the tensions between the descriptive and interpretative functions. The validity of the ekphrasis in front of the contemporary artistic experience will be discussed considering the incompleteness principle of G.C. Argan and the principle of the transparence of S. Sontag. The connection between image and text, understood as a crossroad full of parallelisms, is taken as a fundamental part of the epistemology of [email protected]

Hephaistos’ shield and Achilles’ delight: a study of Iliad XVIII and XIX

Stephen Scully talk at the University of Dallas, 2010

Oscar Wilde as a temporal designer : a case study of the picture of Dorian Gray

Since the publication of Oscar Wilde’s The Picture of Dorian Gray, there have been great amounts of ideological criticism both for and against the author and the work. Critics have variously evaluated the work from different perspectives; however, these studies have largely targeted the thematic aspects of the novel, while little serious attempt has been made to examine the narrativity of this great work. As a result, the narrative structure of this novel still remains quite untouched. As a partial fulfillment, the present paper has examined the temporal structure of the novel. The analysis indicated that temporality is one of the very functional elements of the work. In fact, much of the meaning or the effect the author intends to converse through each action, character, or dialogue is firstly embedded in a proper and effective temporal setting. Moreover, the analysis ascertained that the well-set temporal structure of the work has resulted in (1) Ekphrasis, (2) Characterization, and (3) Reader manipulation. According to the paper, these three elements dramatically carry out the influentiality of this great novel