9,810 research outputs found
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
Hephaistos’ shield and Achilles’ delight: a study of Iliad XVIII and XIX
Stephen Scully talk at the University of Dallas, 2010
El espejo de la ekphrasis : Más acá de la imagen. Más allá del texto.
Desde la Segunda SofÃstica la ekphrasis, descripción literaria de las imágenes, ha sido
asimilada. Este trabajo propone una nueva ekphrasis desde la crÃtica de arte, en un
alegato a favor de la descripción, ya sea como elemento constitutivo de la crÃtica 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 crÃtica 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 tÃtulos 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 artÃstico 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 crÃtica.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]
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
- …