Оглавление
Lyutsiya Staub. Revisiting Renoir, Manet and Degas
Inhalt
List of Paintings1
Chapter 1. Introduction
Chapter 2. Intermediality: Narrative Texts and Visual Arts. 2.1. Visual and Verbal Overstepping of Boundaries
2.1.1. Evolution of the Definition of Ekphrasis
2.1.2. The Diversity of Ekphrastic Relations
2.2. Perception, Re-presentation and the Making of Meaning
2.3. Intermedial Interaction in Contemporary Art Fiction
2.3.1. The Communicative Category
2.3.2. The Re-presentational Category
2.3.3. The Interpretive Category
Chapter 3. Communication
3.1. Verbal Elements
3.2. Visual Elements
Chapter 4. Re-presentation. 4.1. The Process of Making an Artwork: Labour
4.1.1. Inspiration for the Painting
4.2. Models and Modelling in Art-fictional Figure Paintings
4.2.1. The Boating Party
4.2.2. Opportunists, Dancers, Lovers
Victorine
Berthe
Marie and Alexandrie
Conclusion
4.3. Selected Visual Details and Colour
Chapter 5. Interpretation. 5.1. Perceived versus Intended Meaning
5.2. Paintings Viewed on Display
5.3. Revisiting Images and Looking at Collections
5.4. Art Criticism
Chapter 6. Conclusion
Bibliography
Fußnoten. List of Paintings
Chapter 1. Introduction
2.1.1. Evolution of the Definition of Ekphrasis
2.1.2. The Diversity of Ekphrastic Relations
2.3.1. The Communicative Category
2.3.2. The Re-presentational Category
2.3.3. The Interpretive Category
Chapter 3. Communication
3.1. Verbal Elements
3.2. Visual Elements
4.1. The Process of Making an Artwork: Labour
4.1.1. Inspiration for the Painting
4.2.1. The Boating Party
Victorine
Marie and Alexandrie
4.3. Selected Visual Details and Colour
5.1. Perceived versus Intended Meaning
5.2. Paintings Viewed on Display
5.3. Revisiting Images and Looking at Collections
5.4. Art Criticism
Отрывок из книги
Lyutsiya Staub
Revisiting Renoir, Manet and Degas
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One of the most influential and widely cited definitions of ekphrasis has been formulated by Heffernan, who interprets it as “the verbal representation of a visual representation” (3). On the one hand, by regarding ekphrasis as “verbal representation”, Heffernan departs from seeing it as exclusively descriptive. On the other, he limits ekphrastic practice to works of representational art. Heffernan points out that his definition
excludes a good deal of what some critics would have ekphrasis include – namely literature about texts. It also allows us to distinguish ekphrasis from two other ways of mingling literature and the visual arts: pictorialism and iconicity. What distinguishes those two things from ekphrasis is that both of them aim chiefly to represent natural objects and artifacts rather than works of representational art. (3)
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