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(1997) has expanded the range of ekphrastic objects, discussing not only poems about paintings but also about “uncanonical art forms such as television, photography, comics, and cinematography.” 25 In the same year, Claus Clüver proposes a yet more “radical revision of the concept that would lead to a considerable extension” (“Ekphrasis” 23). This extension consists not only in broadening the definition to include as the object of ekphrasis any discourse composed in a non-verbal sign system, but moreover, his proposal implies that ekphrasis would also include both the tableau vivant and theatricalization (26), two terms eminently relevant for the notion of filmic ekphrasis. Having expanded the second part of the ekphrastic equation, Clüver proceeds to revise the first part a year later. Rather than “verbal representation” he argues for the term “verbalization” which is less tied to mimesis than the traditional term, yet retains a certain degree of enargeia inherent in and central to ekphrasis. 26 Thus, he defines the concept as “the verbalization of real or fictitious texts composed in a non-verbal sign system” (49). Likewise, Tamar Yacobi has shown in various essays that ekphrasis can include a mere allusion to an “ekphrastic model” or an “ekphrastic simile” of no more than one phrase. 27 Both generally invoke a pictorial model rather than a specific painting (such as a Last 25 Margaret Persin, Getting the Picture: The Ekphrastic Principle in Twentieth-Century Spanish Poetry (Lewisburg: Bucknell UP; London: Associated UP, 1997) 19. 26 Claus Clüver, “Quotation, Enargeia, and the Function of Ekphrasis,” Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis, eds. Valerie Robillard and Els Jongeneel (Amsterdam: VU University Press, 1998) 45. 27 Tamar Yacobi, “The Ekphrastic Model: Forms and Functions,” Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis, eds. Valerie Robillard and Els Jongeneel (Amsterdam: VU University Press, 1998) 21-34; “Verbal Frames and Ekphrastic Figuration,” Interart Poetics: Essays on the Interrelations of the Arts and Media, ed. Ulla-Britta Lagerroth, Hans Lund, and Erik Hedling (Amsterdam and Atlanta: Rodopi, 1997) 35-46. 12
Supper, a Crucifixion), but produce multiple interconnections and cross- references. They thus function as “abbreviated reference to a whole pictorial set of works, which silently refers the reader to the original itself for details and extensions” (“Verbal” 42). The most radical re-definition, and most significant one for my purposes, has been proposed in 2000 by Siglind Bruhn in her book on Musical Ekphrasis and an article based on the introduction of that book a year later. 28 She expands Clüver’s definition of ekphrasis to refer to the “representation in one medium of a real or fictitious text composed in another medium” (Musical 8; “Concert” 559). Musical ekphrasis can thus transpose either a painting or a literary text, and the individual studies in her book are in fact devoted to both cases. Bruhn’s re- definition is particularly relevant since it contends that the “recreating medium need not always be verbal, but can itself be any of the art forms other than the one in which the primary ‘text’ is cast” (Musical 7-8). In a footnote, she points out that Claus Clüver, in his article “On Intersemiotic Transposition” has interpreted Charles Demuth’s painting I Saw the Figure Five in Gold as intersemiotic transposition of William Carlos William’s poem “The Great Figure.” 29 Not only do the third and fourth lines of the poem provide the title of the painting, but the painting does in fact transpose the poem, including its past tense, into pictorial language. Wendy Steiner, in Pictures of Romance provides another example of 28 Siglind Bruhn, Musical Ekphrasis: Composers Responding to Poetry and Painting (Hillsdale, NY: Pendragon Press, 2000) and “A Concert of Paintings: Musical Ekphrasis in the 20th Century,” Poetics Today 22:3 (2001): 551-605. 29 Claus Clüver, “On Intersemiotic Transposition,” Art and Literature I, ed. Wendy Steiner, spec. issue of Poetics Today 10.1 (1989): 55-90. 13
Page 1 and 2: Copyright by Laura Mareike Sager 20
Page 3 and 4: Writing and Filming the Painting: E
Page 5 and 6: Acknowledgements I would like to ex
Page 7 and 8: After developing a framework of fou
Page 9 and 10: Chapter 4: Goya’s El sueño de la
Page 11 and 12: INTRODUCTION Chapter 1: Toward a De
Page 13 and 14: arts as well as between academic di
Page 15 and 16: value” than painting, and to offe
Page 17 and 18: (ut pictura poesis).” 14 But inte
Page 19 and 20: Similarly, Ernest B. Gilman has dis
Page 21: studied in terms of composition and
Page 25 and 26: also lose their potential to be ekp
Page 27 and 28: etween art history and film studies
Page 29 and 30: In contrast to the films Poulton di
Page 31 and 32: words, filmic ekphrasis reenacts in
Page 33 and 34: to musical ekphrasis, I allege that
Page 35 and 36: films revert to the traditional mal
Page 37 and 38: Paris 1989 and Musée du Louvre IV,
Page 39 and 40: Moreover, the woman in the green co
Page 41 and 42: hear, read or talk about the art wo
Page 43 and 44: man in the blue shirt. The man next
Page 45 and 46: fruitfully applied to poetic ekphra
Page 47 and 48: has a similar goal and will adapt h
Page 49 and 50: Poulton describes sixteen categorie
Page 51 and 52: means and other filmic devices such
Page 53 and 54: paintings by Renoir with which the
Page 55 and 56: Attributive Ekphrasis The first cat
Page 57 and 58: conflictive, and one conflictive an
Page 59 and 60: instances of ekphrasis will play a
Page 61 and 62: hohen Brauen, den breiten Mund mit
Page 63 and 64: Blas de Otero’s poem “Guernica
Page 65 and 66: Inquisition trial, the works are di
Page 67 and 68: is in the film reduced to an expres
Page 69 and 70: present, and constitutes a device c
Page 71 and 72: contrasting images. In Plett’s te
Page 73 and 74:
Similarly, Camilo José Cela’s Lo
Page 75 and 76:
the addition of Dirck van Baburen
Page 77 and 78:
I have discussed examples of dramat
Page 79 and 80:
has identified three groups of pict
Page 81 and 82:
Chapter 3: Goya’s The Sleep of Re
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an espousal of the Enlightenment an
Page 85 and 86:
(Capricci, 1743), and Giambattista
Page 87 and 88:
audience would probably be familiar
Page 89 and 90:
intended meaning of the Caprichos
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of his Obras has a frontispiece tha
Page 93 and 94:
almost any sort of satire” since
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more explicit in literary texts, si
Page 97 and 98:
y Goya,”1961). 112 In both these
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political opportunism of those indi
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have not a separating but a complem
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The drama takes place in December 1
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King’s minister Calomarde, take o
Page 107 and 108:
works, rather than his mistress Leo
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While the first phrase (“Tal para
Page 111 and 112:
with the perspective represented in
Page 113 and 114:
interpretation also points to Buero
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decapitated by one of his own paint
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azón and his own involvement in an
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Goya’s aquatint and of the text-i
Page 121 and 122:
adopt Goya’s perspective, puts th
Page 123 and 124:
point, allowing the viewer a glimps
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eally happened. Boccherini’s musi
Page 127 and 128:
moving characters are superimposed
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eason. However, this positive note
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Likewise, in Kunert’s poem, the r
Page 133 and 134:
ends the nightmare sequence. Howeve
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Chapter 4: Goya’s El sueño de la
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anger at his constant surveillance
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USES OF EKPHRASIS IN THE NOVEL AND
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phantastischen Gefunkels hart, nack
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sphere. Unlike the novel, the inter
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power and their inability to rule S
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Entering the Quinta del Sordo, on t
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that emphasizes the personal, aesth
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his source of hope and spiritual gu
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drawings and paintings of his exter
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struggle with himself and his inter
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y strange creatures from his imagin
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marked off as actual threat, as opp
Page 161 and 162:
of ekphrasis in both produces a cer
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point of view. Yet, during the same
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interpretive ekphrases), or visuall
Page 167 and 168:
image to the public, in other words
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that both of these works equally pe
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concretized by the film for an audi
Page 173 and 174:
competition on another level, by re
Page 175 and 176:
aspirations, it seems to portray hi
Page 177 and 178:
the renowned artist from classical
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Thus, as was the case with the Self
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wearing not his usual white cap or
Page 183 and 184:
Thus, it is no surprise that such a
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the great genius from humble origin
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has not adopted it in his film. The
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etchings and drawings, which are, o
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While Korda also does not show Sask
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Rembrandt has aged considerably, th
Page 195 and 196:
the space where his mirror is proba
Page 197 and 198:
However, Zuckmayer’s interpretati
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scène is constituted by the above-
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The use of the spoken word in this
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“turned to privacy and inwardness
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etween social classes and as the co
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the production of privacy that cons
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viewer’s gaze into actively seein
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TRACY CHEVALIER AND PETER WEBBER: G
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differences between the two women,
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etween the two since Griet has star
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scene, to contrast with her tranqui
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Vermeer’s economic dependence on
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omniscient narrator who describes C
Page 223 and 224:
thereafter at an auction of that pa
Page 225 and 226:
Likewise, the two central ekphrasti
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the role and function of art in hum
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epresenting class tensions. This di
Page 231 and 232:
Vermeer and that the name of the gi
Page 233 and 234:
economic and gender structures in t
Page 235 and 236:
In short, these two novels foregrou
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may compete with both the visual ar
Page 239 and 240:
promotion of his public image throu
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example, in the film Girl with a Pe
Page 243 and 244:
PARAGONE But why do the ekphrastic
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Since its invention, film has been
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contemporary art historians. By for
Page 249 and 250:
Berger, John, and Nella Bielski. Go
Page 251 and 252:
Daniel, Howard. “Introduction.”
Page 253 and 254:
Hartmann, Lucrecia. Capriccio - Bil
Page 255 and 256:
Lopez-Rey, José. Goya’s Capricho
Page 257 and 258:
Richter, Rolf. “Goya - der Weg zu
Page 259 and 260:
Stoll, Andre. “Goyas Illumionatio
Page 261 and 262:
Yacobi, Tamar. “The Ekphrastic Mo
Page 263:
Vita Laura Mareike Sager was born i
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