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Copyright by Laura Mareike Sager 2006 - The University of Texas at ...

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EKPHRASTIC CATEGORIES IN TEXTS AND FILMS<br />

I have compared Struth’s Museum Photographs to ekphrastic film stills,<br />

interpreting them as moments <strong>of</strong> ekphrasis in a mise-en-scène, in order to<br />

exemplify different ways in which ekphrasis can be visual. Just as literary<br />

ekphrasis verbalizes or dram<strong>at</strong>izes a work <strong>of</strong> art in its own medium, so do these<br />

photos visualize and dram<strong>at</strong>ize the represent<strong>at</strong>ion <strong>of</strong> art works in another medium.<br />

However, this analysis <strong>of</strong> the photographs has indic<strong>at</strong>ed th<strong>at</strong> it is helpful to<br />

distinguish between different types <strong>of</strong> ekphrasis.<br />

A definitive system<strong>at</strong>ic model for distinguishing various kinds <strong>of</strong><br />

ekphrasis is still lacking in the critical liter<strong>at</strong>ure, although a few scholars have<br />

made some first steps in th<strong>at</strong> direction. John Hollander has classified ekphrasis<br />

according to content and historical development, a system th<strong>at</strong> is far too broad to<br />

be critically useful. 52 Gisbert Kranz has outlined a very complex system in which<br />

he classifies ekphrastic poems according to their achievement (Leistung), th<strong>at</strong> is,<br />

transposition, supplement<strong>at</strong>ion (Suppletion), associ<strong>at</strong>ion, interpret<strong>at</strong>ion,<br />

provoc<strong>at</strong>ion, playfulness, and concretiz<strong>at</strong>ion. He further distinguishes different<br />

types <strong>of</strong> ekphrasis: intention (Absicht), th<strong>at</strong> is, descriptive, panegyric, pejor<strong>at</strong>ive,<br />

didactic-moralizing, political, socially critical, amusing, or amorous (173-234);<br />

structure, th<strong>at</strong> is, elocutionary, monological, dialogical, epical, apostrophic,<br />

genetic, medit<strong>at</strong>ive, or cyclical (235-328); and referentiality (Realitätsbezug), th<strong>at</strong><br />

is, fictive or cumul<strong>at</strong>ive (329-344). This system is useful in th<strong>at</strong> it allows for a<br />

very nuanced differenti<strong>at</strong>ion both in terms <strong>of</strong> form and content. It is most<br />

52 John Hollander, <strong>The</strong> Gazer’s Spirit: Poems Speaking to Silent Works <strong>of</strong> Art (Chicago and<br />

London: U <strong>of</strong> Chicago P, 1995).<br />

34

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