Podcasts about Ekphrasis

In this episode, Katy Didden and Abram Van Engen discuss the extraordinary leaps, narrative disjunctions, and temporal frames that fill Diaz's extraordinary ekphrastic poem, a reflection on Bruegel's painting, "Landscape with the Fall of Icarus" written in conversation with W.H. Auden's poem "Musée des Beaux Arts." "Two Emergencies," appears in My Favorite Tyrants (https://a.co/d/3IUlLmp) (University of Wisconsin Press 2014), winner of the 2014 Brittingham Prize in Poetry. For more poetry of Joanne Diaz, see also The Lessons (https://a.co/d/bZOFIOp) (Silverfish Review Press 2011), winner of the Gerald Cable Book Award. For W.H. Auden's "Musee des Beaux Artes (https://www.poetryfoundation.org/poems/159364/musee-des-beaux-arts-63a1efde036cd)" see The Poetry Foundation

In this episode, Monica Ong joins us to discuss "Her Gaze," a visual poem that celebrates the achievements of astronomer Caroline Herschel. "Her Gaze" appears in Planetaria, Ong's new collection that merges archival materials with striking lyric poems. Monica Ong is the author of two books: Silent Anatomies (https://korepress.org/product/silent-anatomies-by-monica-ong), which was the winner of the Kore Press First Book Award in 2015; and Planetaria, which will be released in May 2025. Last year, Ong was named a United States Artists Fellow. Ong's visual poetry has been published in many literary magazines and exhibited in galleries and museums all over the world. To learn more about Ong's work, please visit her website (https://www.monicaong.com/). To purchase a copy of Planetaria, visit the Proxima Vera website (https://www.proximavera.com/publication).

In this episode, we read and discuss a poem that takes its inspiration from a painting by Andrew Wyeth. The poem provides a meditation on what we perceive and interpret when we look at a painting, and at one another.

This week's conversation, “Transforming Lives Through Art, Stories & Connection." is a delightful one I've been eager to host with my dear friend and mentor to many, the remarkable Evelyn Asher.  Evelyn's life is a tapestry woven with resilience, creativity, and heartfelt connections across generations. We explore her transformative journey—from making the challenging decision to give up custody of her children to becoming a mentor and creative guide, fostering a world enriched with storytelling and artistic expression. She shares her insights on the power of connecting through stories, her adventures in the world of ekphrastic art, and the fascinating intersection of art and supply chain management.  Her unique experiences and wisdom serve as an invitation for you to uncover your own potential for creativity and connection. Our conversation is brimming with genuine admiration, love, and gratitude, offering a wealth of inspiration for all listeners. Here are the 3 main takeaways that will serve you: Storytelling Fosters Connection: Discover how sharing personal narratives can deepen connections and create meaningful relationships.Embrace Elder Wisdom: Uncover the value of elder insights that can enrich your life and provide a source of guidance and inspiration.Creativity is Ageless: Be encouraged by Evelyn's message that creativity can be explored at any age, inviting new adventures and artistic expressions into your life. Thanks for tuning in and being a part of this journey. We appreciate your support and hope you are inspired to embrace new possibilities and deepen your connections. The Unknown by Evelyn Asher    The Unknown knocks softly at my door  Unaccompanied Inviting me to reflect before I answer.   What's behind the door?    A meadow of soft images, playful If I but accept an extended hand  Become my own Julie Andrews.    Rejoicing in the vastness of love,  Views of forever, united at times,  Forever gathering under an umbrella of joy.    Connection, curiosity, celebration.  The Unknown waits patiently for me,  Admonishing not if I miss the mark,  Inviting me to be still under the layers of lived experiences    Alone and among those who enrich my life,    Give me pause, question,  Help me abandon my cloak of doubt. MORE ABOUT EVELYN ASHER Evelyn is a writer, poet, visual artist, and multi-generational matriarch based in Greater Atlanta. A natural encourager, she finds joy in mentoring young readers and serving as a Wisdom Keeper, guiding nonprofits toward greater impact. A lifelong advocate for social justice, she is an active volunteer in global communities. An IFC certified Transformational Coach, Evelyn embraces insight, intuition, and compassion in her work. Proving her resilience, she pursued her undergraduate and MBA degrees while balancing caregiving and professional commitments. Passionate about intergenerational connections, she leads Wisdom Collective workshops, fostering cultural exchanges and creative expression. Her writing thrives in community and she's active in multiple writers' guilds. She spearheads Ekphrasis for the Masses, an arts initiative co-sponsored by the Quinlan Visual Arts Center. Committed to lifelong learning, integrating emotional intelligence, storytelling, and cultural conversations into her coaching and creative practice, always seeking new perspectives to inspire and uplift.

In this episode, Niki Herd joins us to read and discuss an excerpt from The Stuff of Hollywood, a collection in which Herd experiments with a range of forms and procedures to examine the history of violence in America. To learn more about Niki Herd, you can visit her website (https://www.nikiherd.com/). The Stuff of Hollywood was just published by Copper Canyon Website. Please visit their website (https://www.coppercanyonpress.org/books/the-stuff-of-hollywood-by-niki-herd/) to purchase a copy. Photo credit: Madeline Brenner

In this episode, Shankar Vendantam joins us to read and discuss "Musee des Beaux Arts," a poem that explores the ways in which humans become indifferent to the suffering of others. To learn more about Shankar Vendantam and the Hidden Brain podcast, visit his website (https://www.npr.org/people/137765146/shankar-vedantam). To read Auden's poem, click here (https://english.emory.edu/classes/paintings&poems/auden.html). Thanks to Curtis Brown Ltd. for granting us permission to read this poem.

Poetry engages in conversation. Today, we explore a long, beautiful, narrative poem weaving together the work of fellow poets while looking carefully at a Caravaggio painting, all reflecting on illness, death, and friendship. For the poem, see here: https://www.nereview.com/vol-40-no-1-2019/the-conversion-of-paul/ For Grotz's incredible book, Still Falling, see Graywolf (https://www.graywolfpress.org/books/still-falling)Press here: https://www.graywolfpress.org/books/still-falling “Still Falling is an undeniably gorgeous book of love poems full of grief. In these pages, Jennifer Grotz writes line after line of direct statement in rhythms that would leave any reader breathless and wanting more. . . . I am in awe of Grotz's power to grow and transform book after book. I cannot read Still Falling without crying.”—Jericho Brown For the Caravaggio painting, The Conversion on the Way to Damascus (https://en.wikipedia.org/wiki/Conversion_on_the_Way_to_Damascus), see here: https://en.wikipedia.org/wiki/ConversionontheWayto_Damascus For more episodes on ekphrasis, please see our website and keywords here: https://poetryforallpod.com/episodes/ Thanks to Graywolf Press for permission to read this poem on the podcast. Jennifer Grotz's "The Conversation of Paul" was published in her collection titled Still Falling (Graywolf, 2023).

Co-host Beth Stovell speaks with Meghan Henning and Nils Neumann about their research and writing, including their new book, Vivid Rhetoric and Visual Persuasion: Ekphrasis in Early Christian Literature (Eerdmans, 2024). Meghan Henning is associate professor of Christian origins at the University of Dayton. Her previous books include Educating Early Christians through the Rhetoric of Hell and Hell Hath No Fury: Gender, Disability, and the Invention of Damned Bodies in Early Christianity. Nils Neumann is professor of biblical theology at Leibniz University Hannover. His previous books include Armut und Reichtum im Lukasevangelium und in der kynischen Philosophie and Lukas und Menippos.

Recorded by Emily Khilfeh for Poem-a-Day, a series produced by the Academy of American Poets. Published on July 31, 2024. www.poets.org

By torrin a. greathouse

By torrin a. greathouse

Today's poem (from an art scholar and master of ekphrastic poetry) features another classic Hopper painting and a contemplative trip to the movies. Happy reading!Joseph Stanton's books of poems include A Field Guide to the Wildlife of Suburban O‘ahu, Cardinal Points, Imaginary Museum: Poems on Art, and What the Kite Thinks, Moving Pictures, and Lifelines: Poems for Homer and Hopper. He has published more than 300 poems in such journals as Poetry, Harvard Review, Poetry East, The Cortland Review, Ekphrasis, Bamboo Ridge, Elysian Fields Quarterly, Endicott Studio's Journal of the Mythic Arts, and New York Quarterly. In 2007, Ted Kooser selected one of Stanton's poems for his “American Life in Poetry” column.Stanton has edited A Hawai‘i Anthology, which won a Ka Palapala Po‘okela Award for excellence in literature. Two of his other books have won honorable mention Ka Palapala Po‘okela Awards. In 1997 he received the Cades Award for his contributions to the literature of Hawai‘i.As an art historian, Stanton has published essays on Edward Hopper, Winslow Homer, Maurice Sendak, Chris Van Allsburg, and many other artists. His most recent nonfiction books are The Important Books: Children's Picture Books as Art and Literature and Stan Musial: A Biography. He teaches art history and American studies at the University of Hawai‘i at Mānoa.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Pastor Alan R. Knapp discusses the topic of "A Drama of Two Cities - Ekphrasis as a Lens" in his series entitled "Lenses 2008" This is Chapter 44 and it focuses on the following verses: Revelation 17:1-6

Every bait and switch was a work of art. It's time to get theoretical! In this week's episode, we cover Aesthetic Theory–the experience of beauty, for the sake of beauty. Jodi starts us off quite literally with “Gorgeous” from reputation (2017). This prompts a discussion of “The Picture of Dorian Gray” by Oscar Wilde, and the similarities between the song's obsession with the subject's beauty, and the book's fixation on the beauty and youth of Dorian Gray. Naturally, we talk about gender roles and the negative sides of focusing exclusively on a person's beauty. Then, Jenn brings in “willow” from folklore (2020) as an example of a song that gave her an aesthetic experience. And Maansi brings it home with “gold rush,” also from folklore (2020), focusing on the detailed, artistic descriptions of beauty throughout the song.  Mentioned in this episode:  “The Picture of Dorian Gray,” Oscar Wilde  “The Giver,” Lois Lowry  “The Giver” movie “Gorgeous,” reputation  “willow,” folklore “gold rush,” folklore The Aeneid, Virgil The Pit and the Pendulum, Edgar Allen Poe The Odyssey, Homer    Important definitions:  Aestheticism: aestheticism promoted an "art for art's sake" philosophy, celebrating beauty as free of moral or utilitarian considerations Hedonism: the pursuit of pleasure; sensual self-indulgence. Ekphrasis: the use of detailed description of a work of visual art as a literary device.    Affiliate Codes:  Bookshop.org/ - Use code APTS until 4/10/24 for 10% off any order! Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro ***   Episode Highlights:  [01:10] Introduction to Aestheticism  [08:59] “Gorgeous,” reputation  [26:03] “willow,” evermore [40:37] “gold rush,” evermore   Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe   Follow us on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm → tinyurl.com/aptslibro This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.  

Yvonne Blomer pops by to talk about her latest poetry collection, The Last Show on Earth. Andrew goes to the expert for water and nature poem advice. It's a joy! ----- Listen to more episodes of Page Fright here. Follow the podcast on Twitter here. Follow the podcast on Instagram here. ----- Yvonne Blomer lives on the traditional territories of the WSÁNEC´ (Saanich) peoples of the Coast Salish Nation. Her most recent book is The Last Show on Earth, Caitlin Press, 2022. In the fall of 2022 Palimpsest Press released Book of Places” 10th Anniversary Edition with new poems and layout. Yvonne's poetry books also include As if a Raven (Palimpsest Press, 2015), and the anthologies Refugium: Poems for the Pacific and Sweet Water: Poems for the Watersheds (Caitlin Press, 2017 and 2021). Sugar Ride: Cycling from Hanoi to Kuala Lumpur is her memoir exploring body, time, and travel. Yvonne is the past Poet Laureate of Victoria, B.C. and Arc Magazine's poet-in-residence for 2022-23. This spring the anthology Yvonne co-edited, Hologram: Poems for P.K. Page will be released with Caitlin Press. ----- Andrew French is an author from North Vancouver, British Columbia. They have published two chapbooks, Poems for Different Yous (Rose Garden Press, 2021) and Do Not Discard Ashes (845 Press, 2020). Andrew holds a BA in English from Huron University College at Western University and an MA in English from UBC. They write poems, book reviews, and host this very podcast.

Recorded by Fargo Nissim Tbakhi for Poem-a-Day, a series produced by the Academy of American Poets. Published on November 25, 2022. www.poets.org

Matteo Campagnoli"Babel Festival"EkphrasisDal 15 al 18 Settembre, Bellinzonahttps://www.babelfestival.com/Termine poco noto, quasi da addetti ai lavori, la parola greca ekphrasis – composta da ek, “fuori”, e phràzo, “parlare, descrivere” – abbraccia diversi significati che si propagano come onde concentriche dal suo nucleo etimologico.Per gli oratori antichi era un descrivere che presenta in modo vivido il soggetto del discorso davanti agli occhi di chi ascolta. Nell'accezione più corrente, è la descrizione poetica di un'opera pittorica o scultorea: sono i centotrenta versi con cui Omero forgia lo scudo di Achille, è Auden sulla Caduta di Icaro di Bruegel. Ma ekphrasis è anche il “visibile parlare” dell'arte medievale che predica in immagini, è un romanzo trasposto in pellicola, è poesia danzata, melodia dipinta.L'ekphrasis è interazione, relazione, ibridazione, anelito, sconfinamento. È insieme il frutto di un contagio e il risultato di una sfida: è arte che genera altre arti. L'ekphrasis parla più lingue simultaneamente, vive tra-i-linguaggi. L'ekphrasis è traduzione. L'ekphrasis è babelica.Babel Ekphrasis invita autori e autrici la cui scrittura si nutre fortemente di altre arti, e artiste e artisti che operano tra più arti, declinando la propria ricerca nel maggior numero di forme possibili.La diciassettesima edizione si intitola "Babel Ekphrasis" e invita autori e autrici la cui scrittura si nutre fortemente di altre arti, e artiste e artisti che operano tra più arti, accostando ai dialoghi in teatro una rassegna cinematografica, un concerto, un DJ set, due mostre d'arte, gli incontri Industry per operatori culturali, un laboratorio di scrittura nella lingua adottiva e quattro laboratori di traduzione letteraria.Dopo l'edizione 2021 dedicata a Babele, alla diaspora, alla moltiplicazione delle lingue e alla nascita della traduzione, nel 2022 Babel riflette su un altro caposaldo del festival: il rapporto tra la scrittura e le altre arti.Babel Ekphrasis invita autori e autrici la cui scrittura si nutre fortemente di altre arti, e artiste e artisti che operano tra più arti, accostando ai dialoghi in teatro una rassegna cinematografica, un concerto, un DJ set, due mostre d'arte, gli incontri Industry per operatori culturali, un laboratorio di scrittura nella lingua adottiva e quattro laboratori di traduzione letteraria.Tra gli ospiti: Jean Echenoz, Mario Martone, Jakuta Alikavazovic, Léonor de Récondo, Frédéric Pajak, Aaron Schuman, Fabienne Radi, Gwenn Rigal, Jérémie Gindre, Donatella Bernardi, Nicola Gardini, Giovanni Maderna, Johanna Schaible, Antonio Rovaldi.Per l'Open Air di venerdì 16 all'Antico Convento delle Agostiniane di Monte Carasso, Nicola Gardini – romanziere, saggista, poeta, pittore, professore di Letteratura italiana e comparata a Oxford, traduttore dall'inglese, dal greco e dal latino – ci parla di ekphrasis nelle sue varie declinazioni. A seguire, Joshua Chiundiza, artista audiovisivo dello Zimbabwe, e Yann Longchamp, DJ e designer interattivo svizzero, presentano Tethered Lines, una performance concepita tra Harare e Ginevra e sviluppata appositamente per Babel Ekphrasis. Il duo esplora la tradizione orale e viaggia nel tempo in una narrazione audiovisiva all'incrocio dei rispettivi patrimoni artistici: un intreccio di linee vocali e sonore che mescola musica mbira, chimurenga e sungurra, ritmi euro-elettronici e flow hip-hop. A seguire, un DJ set di Yann Longchamp.Il festival sarà accompagnato da quattro laboratori di traduzione letteraria: dal francese con Maurizia Balmelli, Nicolò Petruzzella e l'intervento dell'autore Frédéric Pajak; dall'inglese con Franca Cavagnoli; dallo spagnolo con Ilide Carmignani; dal portoghese con Roberto Francavilla. A completare i laboratori, un incontro con Magda Mandelli (Edizioni Casagrande) e Nicolò Petruzzella (L'Orma editore) sul rapporto tra traduttore, revisore e redattore.A fine workshop, gli allievi sosterranno una prova di traduzione: le prove migliori per ogni combinazione linguistica otterranno la commissione di una traduzione dalla rivista multilingue Specimen. The Babel Review of Translations. Tutte le prove riceveranno un feedback.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

After an Easter Gunting hiatus, we're back with another chapter. This one's heavy on the games and light on the story. Just the way we like it! Ernest puts us in the shoes of Wade in the cyber-shoes of Parzival who is, in turn, in the simulated-kicks of Kira Underwood: the coolest teen in Middletown (Ohio).Important Links

Guest BiographiesDr. Laura Eidt received her BA in English Literature and Linguistics from the University of Hamburg (Germany) and her MA and PhD in Comparative Literature from the University of Texas at Austin. She has been teaching in the Spanish, German, Comparative Literature, and Humanities Programs at the University of Dallas since 2006 and published on German and Spanish poetry, and on Ekphrasis. For many years she taught an applied foreign language pedagogy class that sent students to local area schools to teach their language to elementary children, and she was a mentor at a bilingual school in Dallas for four years. Her courses include classes on Foreign Language Pedagogy, Teaching Classical Children's Literature, and Great Works in the Modern World. She is the faculty advisor for UD's Classical Curriculum team and is currently writing a Latin curriculum for K-5rd grade. Dr. Patrick M. Owens was born and raised in New York City where he graduated from Fordham University. In his pursuit of the Classical languages Dr. Owens moved to Montella, Italy to study at Vivarium Novum and then to Rome, where he earned his Ph.D. at the Salesian University. He has taught Latin, Greek, and Classical literature at the middle school, high school, and university levels. When he is not teaching, Dr. Owens continues his research on Latin literature and the history of Latin pedagogy. Additionally, he works as a consultant for schools developing curricula for Latin and Classical education. He and his wife Mallory, who is also an accomplished Latinist, raised two children in a bilingual home. Show NotesDr. Laura Eidt and Dr. Patrick M. Owens join Adrienne to discuss Latin. Both guests bring a wealth of information about classical education and teaching Latin.Their love for Latin is also contagious! This episode will not only give practical advice about incorporating Latin into your life, but the history of how to teach Latin is quite interesting.Taking us back to antiquity and through the Renaissance, Dr. Eidt and Dr. Owens unfold the history of teaching Latin as a living experience. Classical education ought to be joyful and beautiful. The immersion approach for children is not common in most Latin programs on the market today. But the University of Dallas is launching a K-5 Storybook Latin approach that is great for both homeschoolers and classroom teachers who have little to no experience with Latin! Some questions in this episode include: What is classical education?  What can a parent do to help their child become interested in Latin (or Greek) What is the history of Latin education?  What is the tradition of the trivium and how is it different from the neoclassical trivium?  What is the role of Latin in the trivium, and what age ought a child begin learning Latin?   Books Mentioned: The Very Hungry Caterpillar by Eric CarleInstitutes of Oratory by QuintilianOrbis Pictus by John ComeniusDidactica Magna (The Great Didactic), by John Amos ComeniusThe Narnia series by C.S. LewisMan's Search for Meaning by Viktor E. Frankl Latin Resources for Adult Learning:Hans H. Ørberg's Lingua Latina Per Se Illustrata: Familia RomanaSchola LatinaVivarium NovumPaideia InstituteVeterum Sapientia Institute (for Catholic Learning) For more information on the University of Dallas's K-5 Latin:https://k12classical.udallas.edu/k-12-curriculum/k-5-latin-curriculum/  For consulting information from Dr. Patrick M. Owens: Dr. Patrick M. Owens offers Classical education and Latin language consulting to K-12 schools and institutions of higher education. Dr. Owens works with educators who want to develop vibrant and successful academic programming through remote consulting or on-site professional development. He has worked with groups of every size from large State Universities to small homeschool coops. You can reach him at: PatrickM.Owens@gmail.com_________________________________Credits:Sound Engineer: Andrew HelselLogo Art: Anastasiya CFMusic: Used with permission. cellists: Sara Sant' Ambrogio and Lexine Feng; pianist: Alyona Waldo© 2022 Beautiful Teaching. All Rights Reserved ★ Support this podcast on Patreon ★

A compelling collection of poems, Late Self-Portraits conveys an intimate description of lives through a collage of portraits and affliction. Weaving history and the sacred, both intimate and worldly, one encounters a blind Jorge Luis Borges with his mother, a glass confessional in the Notre Dame Cathedral, Frida Kahlo in Mexico, ghosts, a neurosurgeon's prognosis, and Marie Laveau in New Orleans. Whether in a field with Joan of Arc, encountering the artist Jean-Michel Basquiat, or having dinner with Hades, these are haunting poems of loss and unearthing, equally bold, personal, and tender. MARY MORRIS is the author of two previous books of poetry, Enter Water, Swimmer and Dear October, which won the New Mexico Book Award. She is a recipient of the Rita Dove Award (2008), Western Humanities Review's Mountain West Writers' Prize (2019), the New Mexico Discovery Award (2005), and the National Federation of Press Women's Communications Contest Award (2021).Mary Morris's Late Self-Portraits is available at msupress.org and other fine booksellers. You can find her online at water400.org where you can find events, poems to read, interviews, and more. You can connect with the press on Facebook and @msupress on Twitter, where you can also find me @kurtmilb.The MSU Press podcast is a joint production of MSU Press and the College of Arts & Letters at Michigan State University. Thanks to the team at MSU Press for helping to produce this podcast. Our theme music is “Coffee” by Cambo. Michigan State University occupies the ancestral, traditional, and contemporary Lands of the Anishinaabeg – Three Fires Confederacy of Ojibwe, Odawa and Potawatomi people. The University resides on Land ceded in the 1819 Treaty of Saginaw.

"When I Was Sixteen" is an original song written and performed by Evie and Ella as a response to their reading of Geraldine Connolly's poem, "The Summer I Was Sixteen." Main Lesson students in Poetics were challenged to respond to a poem in any genre other than poetry (a kind of contemporary, multigenre ekphrasis). Some students created short films, some illustrated graphic novel-style panels, and some wrote and performed original songs.  See acast.com/privacy for privacy and opt-out information.

Nós, seres humanos que habitamos o planeta terra, hoje, vivemos duas grandes crises, uma crise ambiental e uma crise midiática.   Acrise ambiental recebeu muitos nomes: aquecimento global, mudanças climáticas, antropoceno, capitaloceno… Como melhor nomear essa crise é um debate que envolve várias disciplinas: geologia, biologia, demografia, ciências sociais e ciências políticas, enfim.. mas o que esses nomes designam é um consenso científico: a atuação humana transformou o planeta e os efeitos disso a gente já começa a sentir na pele, ver nos rios e nas florestas na forma de poluição e redução da biodiversidade.  Tão preocupante quanto é a crise midiática: como comunicar a urgência do antropoceno? Como comunicar à população sobre os prejuízos dos incêndios no pantanal? Essas duas crises são indissociáveis. Como afirma Susanne Moser no seu livro “Comunicando a Mudança Climática” existem algumas características da crise ambiental que fazem dela especialmente difícil de ser comunicada: a invisibilidade das causas, o impacto distante, a ausência de uma experiência direta ou imediata dos impactos e a falta de um retorno instantâneo por ações que minimizem impactos. Essa pauta do nosso podcast foi inspirada por um artigo de Jorgen Bruhn sobre ecocrítica intermidiática, publicado na revista Ekphrasis em 2020.

We're joined by one of the best producers on the mic this week. Hailing all the way from Grand Rapids, Michigan, Bronze Nazareth checks in to talk about his new album with Roc Marciano, 'Ekphrasis'. We get into the making of the project, revisit his time on Think Differently Music, celebrate the 15th anniversary of his solo debut, 'The Great Migration' and explore his friendship with Apollo Brown.  Buy 'Ekphrasis' by Bronze Nazareth here: https://www.fatbeats.com/search?q=ekphrasis&type=product   Follow Sumit  

Timestamps:00:25: Art as Cognition, Ekphrasis and reactions toward imagery in the subconscious01:35: Art as a unique artifact. Cutting through the noise02:35: Modern Art, Duchamp's readymades, Art, bananas. What is Art depends on perception. What is an Artist?04:00: The Swamp Table, not an artifact, but identical to it. Is it Art? And Foucault's take on an Author and Shakespeare. 05:55: Pyrenees Cave Paintings. Art, Communication or both? 07:50: Context colors Aesthetic Experience. Cognitive knowledge bases and the link between perception and cognition10:15: Art reveals you and itself vs Art on its own as a "beautiful object"11:45: What if we can't understand the Art?13:50: Decoding process of Art. Decoding your mindset15:50: Art evokes emotional reactions, the Age of Assertions. 16:50: Catharsis and Suffering. Do we only care because of sympathy?Support the show (https://www.patreon.com/talkpopc)

In this episode, Brenda Cárdenas guides us through a reading of "Our Lady of Sorrows," an ekphrastic poem that is inspired by the work of Ana Mendieta. To read more of Brenda Cárdenas's work, click here: https://uwm.edu/english/our-people/cardenas-brenda/ To learn more about Ana Mendieta's work, click here: https://www.guggenheim.org/artwork/artist/ana-mendieta

Read: An interview with Kelly Cressio-Moeller at ZYZZYVA.Kelly Cressio-Moeller is a poet and visual artist. Her poems have been nominated for Pushcart Prizes, Best New Poets, Best of the Net and have appeared widely in journals and at literary websites including Gargoyle, North American Review, Poet Lore, Salamander, THRUSH Poetry Journal, Valparaiso Poetry Review, Water~Stone Review, and ZYZZYVA, among others. She is an associate editor at Glass Lyre Press. She lives in the Bay Area with her husband, two sons, and their basset hound. Shade of Blue Trees is her first poetry collection, the finalist for the Wilder Prize at Two Sylvias Press.www.kellycressiomoeller.comPurchase Kelly Cressio-Moeller's debut poetry collection Shade of Blue Trees.

PODCAST EKPHRASIS. Julie Gabrielle Chaizemartin nous propose une heure de conversation avec celles et ceux qui pensent, qui écrivent et qui vivent l'art. Cette semaine, rencontre avec Catherine Millet, écrivaine, critique d’art et co-fondatrice de la revue Artpress. Cette interview a été enregistrée au mois de février entre deux confinements. Comment art et littérature s’articulent dans son parcours de vie, comment art et littérature s’influencent dans ses écrits autobiographiques. L’autobiographie, le grand sujet de Catherine Millet. Elle est en train de préparer un prochain livre d’ailleurs. D’elle, j’ai lu la somme actualisée sur l’art contemporain en France puis très récemment, deux de ses romans autobiographiques, dont la lecture m’a happée, le style aussi.  « La Vie sexuelle de Catherine M. » évidemment et « Jour de Souffrance », deux récits conçus comme un diptyque. Mais comme j’écris aussi dans Artpress, je lui demande ce que représente Artpress aujourd’hui dans l’univers de l’art contemporain, Artpress, cette revue qu’elle a fondée et qui va avoir 50 ans l’année prochaine… et la critique d’art, quel regard porte-t-elle dessus ? A-t-elle évolué et de quelle manière ?  © Crédit photo : JOEL SAGET/AFP  

Ekphrasis of a dead(?) bush + Quotes from Michael Bublé's song "Home."

A multiple Pushcart Nominee, Joy's work has won numerous awards and is published in over 100 literary magazines and journals including Poetica, Ekphrasis, Poetry East, The Kentucky Review, RATTLE, The Patterson Review, and others. Her work is also included in the stunning anthology, Michigan in Poetry in Michigan, and, The Bloomsbury Anthology of Jewish American Poetry. Twenty years a professional photographer Joy sees poetry as a natural extension of the photographic art form: both use images, contrast, tensions, a kind of rhythm, and tone to convey what language alone, cannot.  http://www.joygainesfriedler.com/ 

Kenneth Chamlee (Mills River, NC) is Emeritus Professor of English at Brevard College in North Carolina. His poems have appeared in The North Carolina Literary Review, Cold Mountain Review, Ekphrasis, Worcester Review, Naugatuck River Review, and many others, including six editions of Kakalak: An Anthology of Carolina Poets. He has published two award-winning chapbooks, Absolute Faith (ByLine Press) and Logic of the Lost (Longleaf Press) and received three Pushcart Prize nominations. Ken recently completed a poetic biography of 19th century American landscape painter Albert Bierstadt. Check him out at www.kennethchamlee.com.

EKPHRASIS le lundi et jeudi à 14h. Julie Gabrielle Chaizemartin nous propose une heure de conversation avec celles et ceux qui pensent, qui écrivent et qui vivent l'art. Cette semaine, rencontre avec le galeriste Christian Berst. Depuis 15 ans, le galeriste Christian Berst défend l'art brut à travers des expositions et une intense activité éditoriale. Avec l'ouverture en octobre 2020 d'un 2ème espace, nommé The Bridge, juste en face de sa galerie située Passage des Gravilliers à Paris, il souhaite décloisonner le champ de l'art brut, en entamant un dialogue régulier et fécond avec d'autres formes d'art, afin de "construire des ponts et des espaces de liberté", explique-t-il en revenant sur son parcours et son combat. Si aujourd'hui, l'art brut tend à être plus étudié et plus reconnu qu'auparavant - alors qu'il fut longtemps boudé par les institutions - en donner une définition actuelle s'avère être toujours une tâche difficile, depuis le travail de Dubuffet et des avant-gardes. Et "c'est encore un chapitre de l'histoire de l'art à penser et à écrire", estime le galeriste qui est un des seuls à éclairer ce champ de l'art depuis plusieurs années. Retrouvez toutes les informations sur le site d'Ekphrasis

Kenneth Chamlee taught English at Brevard College for forty years. His poems have appeared in The North Carolina Literary Review, Cold Mountain Review, Ekphrasis, and many others, including six editions of Kakalak: An Anthology of Carolina Poets. He has received three Pushcart Prize nominations and regularly teaches for the Great Smokies Writing Program at UNC-Asheville. Ken lives in Mills River, North Carolina, and is currently working on a poetic biography of 19th century American landscape painter Albert Bierstadt. Check it out at www.kennethchamlee.com.

This week Mary Jo Bang joins us! We learn about the Bauhaus movement and an influential photographer named Lucia Moholy, whose works were largely stolen during her lifetime. Mary Jo Bang's collection, A Doll for Throwing uses ekphrastic prose poetry throughout to delve into the riches of the Bauhaus movement which flourished in Germany between the world wars and had longlasting consequences for modern art. With Mary Jo Bang's poem this week, we explore both ekphrasis (poetry about an image) and prose poetry (poetry with no line breaks). For the full text of the "Head of the Dancer," please see here (https://www.newyorker.com/magazine/2017/01/30/the-head-of-a-dancer). For the image by Lotte Jacobi about which this poem is written, please see here (https://www.slam.org/collection/objects/12067/). For more on Lucia Moholy, please see the MoMA here. (https://www.moma.org/artists/6922). For more on Mary Jo Bang, please see the Poetry Foundation here (https://www.poetryfoundation.org/poets/mary-jo-bang).

Welcome to the end of Spooky Season, and we hope that we move into November with safety and security. And, most importantly, we hope you can move into the holidays holding onto the stories we find comfort in. This week’s guest—the one and only T.H Ponders from Accession fame—brings us to the fireplace, and teaches us about the Ekphrastic tradition: where art tells a story, and that story becomes art. Find out why it matters that we tell stories about art; ponder with Ponders about the history of Ekphrasis; enjoy the debut of our new Inception podcast within the podcast; and cry about the days we used to be able to go to international art museums and stand for long periods of time in front of art without a care in the world. For those eligible, vote November 3rd. Things have changed, but we're changing with it. Donate. Sign petitions. Support Black-owned businesses. Educate yourselves. Listen. Speak. Repatriate. Stay Safe. Don't Touch Your Face. Wash Your Hands. Donate! Donate to Black Lives Matter LA, the Action Bail Fund, Black Visions Collective. Please be sure you've signed petitions. If you like what we do, you can support BYWAP over on our Patreon! Find us online! You can follow BYWAP on Twitter and Instagram. You can also find us over on our website! We want to hear from you, to share this time with you. We're in this together, and we're better together. Please leave us a review wherever you listen to podcasts. Every little bit helps as we grow, and we cannot wait to talk to you all again. This is global. Your voice matters. Systemic change is possible. It will not happen overnight—so keep fighting! We stand with you. Our music was written and recorded by Elene Kadagidze. Our cover art was designed by Lindsey Anton-Wood.

On this week's episode, Bob and Chris are talking about art talking about art! How does thinking about other pieces of art help us write? How do different mediums inform each other? We'll talk movies, music, fiction, visual art, and of course poetry. Bob reads Chase Berggrun's "Chapter XII" (an erasure of Dracula), Chris reads Elizabeth Willis's "The Wolfman," and then the dudes discuss how monstrously inadequate their basketball games are.

EKPHRASIS le lundi et jeudi à 14h. Julie Gabrielle Chaizemartin nous propose une heure de conversation avec celles et ceux qui pensent, qui écrivent et qui vivent l'art. Cette semaine, rencontre avec le peintre Hervé Di Rosa. C'est à l'occasion du Salon du Livre rare au Grand Palais que je rencontre Hervé Di Rosa, passionné de l'image imprimée et du livre dont il est collectionneur boulimique. Ces 3 dernières années, il a travaillé à l'illustration d'un beau-livre sur les Fables d'Esope qui vient de sortir aux éditions des Cent Une, unique société de femmes bibliophiles. Une aventure qui le ramène à ses premières amours, les grands papiers découpés de Matisse et la bande-dessinée, à ses rencontres décisives avec Wolinski et les "amis de Charlie" comme il dit, avec Keith Haring aussi. Figure majeure du mouvement de la Figuration Libre dans les années 1980, il crée son grand projet en 2000, le Musée International des Arts Modestes à Sète, lieu atypique, démocratique, transversal, qui montre l'art populaire et l'art des marges, qui met en lumière aussi les cultures d'ailleurs qu'il côtoie depuis des années autour du monde. C'est la rencontre du livre et de l'image qui a mené cet artiste gourmand, attachant et libre vers la pratique de la peinture. Retrouvez toutes les informations sur le site d'Ekphrasis

EKPHRASIS le lundi et jeudi à 14h. Julie Gabrielle Chaizemartin nous propose une heure de conversation avec celles et ceux qui pensent, qui écrivent et qui vivent l'art. Cette semaine, rencontre avec l'écrivain Yannick Haenel. Rêveur et observateur passionné de la peinture, l'écrivain Yannick Haenel, se révèle critique d'art talentueux dans son dernier ouvrage Adrian Ghenie, déchaîner la peinture chez Actes Sud. Au fil de cette conversation, je le suis dans l'obscurité de la matière, celle du clair-obscur de Caravage, auquel il a consacré une magnifique biographie (La Solitude Caravage, Fayard, 2018), dans les méandres lumineux de la peinture de Turner, Bacon, Van Gogh aussi. Des passions et des liens intimes qui attachent son écriture à une vision poétique de l'art dont il décèle avec minutie les mystères chez les fantômes plus récents de l'artiste contemporain Adrian Ghenie. Retrouvez toutes les informations sur le site d'Ekphrasis

O professor Paulo Martins, do Departamento de Letras Clássicas e Vernáculas da FFLCH-USP, fala sobre écfrase, a maneira como ela aparece nas mais diversas obras e sua transformação em gênero.

 Paulo Martins é professor Livre-Docente de Língua e Literatura Latina na Universidade de São Paulo, atualmente é vice-diretor da Faculdade de Filosofia, Letras e Ciências Humanas, pesquisador do CNPq e coordenador do projeto “Estudos Clássicos em Dia”. Foi professor e pesquisador visitante em diversas universidades particulares de São Paulo, da Universidade Estadual Paulista (UNESP/Assis), da Yale University, do King’s College London e do Institute of Classical Studies da School of Advanced Studies da University of London.

 Graduou-se em Letras (1990) e ingressou como docente em 1999. Tornou-se mestre em 1996 com a dissertação “Sexto Propércio: Éthos, Verossimilhança e Fides no Discurso Elegíaco do século I a. C.” e defendeu seu doutorado em 2003 com a tese “Imagem e Poder: Algumas considerações acerca da representação de Otávio Augusto (44 a.C. - 14 d.C.)”.
 Atua lecionando e pesquisando nas áreas de discurso teórico greco-latino, poesia lírica, satírica e didática e elegia romana. Sugestão de Leitura: - CHINN, C. Before Your Very Eyes: Pliny Epistulae 5.6 and the Ancient Theory of Ekphrasis. CPh, v. 102, n. 3, p. 265-80, 2007. DOI:10.1086/529472. - DUBEL, S. Ekphrasis et enargeia: la description antique comme percurs. In: LÉVY, C.; PERNOT, L. (org.). Dire l’Evidence. Paris: L’ Harmattan, 1997, p. 249-64. - ELSNER, J. The Genres of ekphrasis. In: ELSNER, J. (ed.). The Verbal and the Visual: Cultures of Ekphrasis in Antiquity. Ramus, v. 31, p. 1-18, 2002. DOI: 10.1017/S0048671X00001338. - HANSEN, J. A. Categorias epidíticas da ekphrasis. Revista USP, v. 71, p. 85-105, 2006. MARTINS, P. ‘Eneias se reconhece’. letras Clássicas, v. 5, p. 146-57, 2001. DOI: 10.11606/ issn.2358-3150.v0i5p143-157. - MARTINS, P. (2016). Uma visão periegemática sobre a écfrase. Classica - Revista Brasileira de Estudos Clássicos, 29(2), 163-204. doi:https://doi.org/10.24277/classica.v29i2.425 - MARTINS, P. Pictura tacens, poesis loquens. Limites da Representação. Tese (Livre-Docência) – Departamento de Letras Clássicas e Vernáculas da Universidade de São Paulo, 2013. - MARTINS, P. Odisseia 7.79-135: uma ἔκφρασις”. Letras Clássicas, v. 18, n. 1, p. 19-34, 2014. DOI: 10.11606/issn.2358-3150.v18i1p19-34 [= Martins (2013, p. 32-46)]. - RODOLPHO, M. Écfrase e Evidência nas Letras Latinas: Doutrina e Práxis. São Paulo: Humanitas, 2012. - WEBB, R. Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice. Ashgate. 2009. O vídeo está disponível no canal da FFLCH no Youtube. Ficha Técnica: Coordenação Geral Paulo Martins Roteiro e Gravação Paulo Martins Produção Renan Braz Edição Renan Braz Música Pecora Loca - Ode Anacreôntica 39

Mit dem Lacan-Experten Rolf Nemitz spreche ich über die Praxis des Übersetzens. Wir versuchen, der Lust an dieser “selbstlosen" Kunst nachzuspüren und vergleichen Metaphern, die für den Übersetzungsvorgang bemüht werden. Wir sprechen über die Schwierigkeit Lacan zu übersetzen, fragen mit Walter Benjamin nach dem Ungesagten im Text und mit Frank Zappa ob ein Text über ein Kunstwerk nicht immer schon eine Übersetzung ist.

Imagine picking up/ The house from down below

George Abraham invents a new sonnet form to investigate an act of vandalism that occurred in a Palestinian vineyard. Produced by Katie Klocksin.

[...] How much brushwork complexity do you need / to say the elemental? [...]

On this episode of Life with Josh and Amir, the duo sit down to talk about the expression of sound, they examine the mork of philosopher Denis Dutton, they discuss music, talk about the value of music, and speak about the impact and effects of music. This podcast is built on Ekphrasis—art influencing the creation of other art—and together, through music, Josh and Amir journey into a beautiful and intriguing conversation. Music, aesthetics, philosophy, drugs, creativity, process, the pursuit of Passion and more. This is Life with Josh and Amir. Amir's Instagram: https://www.instagram.com/realamirallen/ Josh's Instagram: https://www.instagram.com/joshuajcolumbus/

Poets have long used ekphrasis—the vivid description of a piece of visual art—as a way of exploring the deep complexity of representation, the relationship between the artist and her art, and to make legible things which may otherwise seem inexpressible. NHC Fellow Meta DuEwa Jones is herself a poet and a scholar of poetry at the University of North Carolina at Chapel Hill, where she is an associate professor of English. She is currently working on a new project exploring the relationship between African American poets and visual artists and the ways that their works speak to one another. In this podcast, Jones discusses how these texts inform, integrate, and translate the experience of blackness across genres as they trace the cultural underpinnings of the contemporary African Diasporic world. She elucidates the relationship between efforts to tell the story of the “I” and the story of “we”– whether through words, image, or art in the work of artists and writers such as Glenn Ligon, June Jordan, and Shirley Graham Du Bois.

In this conversation with Trinidadian Scottish poet Vahni Capildeo, author of Venus as a Bear (2018), we explore the layered, polyphonous histories of the places we pass through and inhabit. Capildeo, who studied at Oxford, opens their collection with a series of ekphrastic poems inspired by items in the Ashmolean Museum’s permanent collection, part of the book's rich investigation into the material and immaterial persistence of the past. Last December, I met with Capildeo in London to talk about these poems and history as a reckoning of erasures, translation, and roses. This episode features the poem “Heirloom Rose, for Maya” from Capildeo’s Venus as a Bear (Carcanet Press, 2018), which was shortlisted for the 2018 Forward Prize for Best Collection. Staying Alive is an original podcast series produced and hosted by Adriana X. Jacobs, with editing by Danielle Beeber and Danny Cox, and music by The Zombie Dandies. Support for this podcast comes from the John Fell Fund. For more information about this episode, including materials that didn’t make it into the final cut, visit the podcast website stayingalive.show.

Poet Kathryn Fry reads a number of poems from her latest poetry collection Green Point Bearings and talks about the book's inspiration, how many of the poems came about and how the collection came together, her interest in the natural world, on mindfulness and the power of paying attention, on Ekphrasis and the paintings of Margaret Olly, the notion of 'grace from loss' and Wendy Whiteley's secret garden, on her mentorship with Brook Emery, what she's currently reading and inspired by, and much more.  Here are links to a few of the things we spoke about: Green Point Bearings Wendy Whiteley's Garden Jean Kent's Paris in my pocket John Foulcher's A Casual Penance

Ce mois-ci c'est Myriam Leroy qui se joint à moi dans l'émission avec des images. Une discussion d'un peu plus d'une heure à propos de son parcours, de son premier roman "Ariane", du réseau professionnel et de travailler seul, parfois, par choix, ou pas. Voilà un lien vers son livre parce qu'il n'y a pas de raison que tu ne le lises pas.Points de repères01:45 -> Ses débuts et son parcours professionnel10:15 -> L’écriture pour elle-même, en dehors du journalisme, le « webdoc », le théâtre et le premier roman18:30 -> Apprendre. Faire. Rater. Refaire.23:20 -> Surprise26:40 -> Un petit bout de son morceau personnel, un essai sur Logic29:20 -> Ekphrasis. Une image. On va aussi parler de Liberia.35:00 -> Les images dans son écriture 39:50 -> Le déclencheur des premiers mots de « Ariane »46:00 -> Le timeline depuis le premier mot jusqu’à la publication50:50 -> On parle de Dans Un Camion de Dominique A54:15 —> On en arrive à parler de la frustration de ne jamais avoir trouvé de groupe, ou de binôme avec qui travailler ou partager, suite à la vision du documentaire sur Patar et Aubier54:50 -> Ce même documentaire nous conduit à la sous-représentation des femmes, dans le film, mais aussi dans d’autres sphères artistiques ou professionnelles.01:02:30 -> Ses projets pour 2018LiensLa Maman et la Putain de Diabologum American Darlings de Russell BanksLe Dernier Stage De LA Soif de Frederick ExleyApprendre à lire de Sébastien MinistruLe documentaire de Fabrice du Welz sur Patar et AubierL’article de Loraine Furter sur le all-male panel qu’on a failli avoir au Fig Festival.L’émission avec des images précédente avec Celine GillainLa photographe liégeoise Lara GasparottoL’illustratrice Aurelie William Levaux et son dessin pour Ding Dong PaperLe Madeleine Project de Clara BeaudouxLa playlist Spotify avec des morceaux dont on parle durant les émissions.Si l'épisode t'a plu, n'hésite pas à me laisser un mot sur Twitter ou sur la page Facebook de L'EADI ou encore sur ma page Damien AA.Tu peux aussi aider sur le compte Patreon du podcast. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Kevin and Pam take the reins and chat with Geoffrey Nilson about many things poetic including poems from his chapbook We Have to Watch.

Farnaz Fatemi is a poet, a writer and a teacher of the craft of writing at UC Santa Cruz, and, importantly for us, she is a gardener and lover of tomatoes. Her poetry has been published in the Ekphrasis, Red Wheelbarrow, and several other poetry journals, and in the anthologies Let Me Tell You Where I’ve Been, and recently, Love and Pomegranates: Artists and Wayfarers on Iran, both compilation of works by the Iranian writers outside of Iran. Her poetry has been nominated for the Pushcart Prize. A favorite recent work of hers is in the Tupelo Quartlerly, a very personal and lyrical essay about visits to Iran called The Color of the Bricks. Devon and Chelsea speak with Farnaz about tomatoes; the interplay between gardening, cooking, and writing; travel; and the necessity of poetics and creativity in a movement. See acast.com/privacy for privacy and opt-out information.

Ekphrasis Welcome to Mere Rhetoric, a podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I’m Mary Hedengren and, ah, here I am in my newly redecorated research cube. I’ve taped grey and yellow chevron wrapping paper over the old horrific 90s wallpaper and the books that completely fill my bookshelf are organized—somewhat. The tiny red and green Loeb editions look like Christmas decorations among the others and one whole shelf of books is tattooed with library barcodes. My door is propped open by the extra hard wood chair and is scrubbed clean—you almost can’t see the faint traces of pen from all of the strange graffiti, including one sloppy invitation for a previous occupant to get sushi. I’ve hung an orange-and-white abstract painting on the outside of the door and you can just see the corner of it from my seat. Why am I telling you about my cube in such detail? Because today we’re talking about Ekphrasis. Ekphrasis is the Greek term for description, a rich description that makes you see a scene before you in such detail that you feel like you’re actually there. Did it work? Did you imagine yourself in my cozy little cube? Last week I talked about a how there was a sculpture of kairos that someone had written a poem about and I called it ekphrasis, but I may have given a very short definition of just what ekphrasis is. I’ve been thinking about ekphrasis for a long time, largely because of a 2009 book called Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice. In this book, Ruth Webb seeks to rehabilitate ekphrasis from its long misuse. We think of ekphrasis as a describing a subject matter—art—in poetic practice rather than a method—bringing something “vividly before the eyes”—used for a variety of rhetorical purposes (1). When I first learned of ekphrasis, it was in a poetry class. The teacher showed us several poems that were written to describe pictures and then challenged us to find works of art that we could transfer into words. There are several famous poems that are ekphrasis. For example, do you remember Keats’ Ode to a Grecian Urn? Or William Carlos Williams’ poem about Landscape with Fall of Icarus ? Perhaps one of the most famous examples of ekphrasis, for ancient and modern students, is the description of the achilles’ shield in Homer. In fact, Webb figures that shield led to this confusion of describing an artifact rather than just describing something. Webb doesn’t just tell us what ekphrasis is not; she describes how Progymnasmata series of educational practices and other student handbooks influenced use and understanding of this tool that permeated rhetorical life from the arts (168) to the law courts (89) to the forum (131). Ekphrasis, then, isn’t just an ornament or a figure of speech—Webb claims that it is a “quality of language” (105), something that allows listeners and readers to become what she calls “virtual witnesses” of people, places, and events (95). You can imagine how it would be useful to bring your listeners in to become “virtual witnesses” if you were, say, a lawyer painting a picture of the crime, or if you were a politician petitioning for more military spending by describing a pitiful defeat. Through ekphrasis, your listeners become shared participants in an experience. You recreate an experience so we’re all together for a moment, seeing the same thing, feeling—maybe—the same way. Ekphrasis brings people in with you. Because ekphrasis is more than just an occasional strategy, Webb has to cover a lot of ground in her book. She begins by describing the context in which ekphrasis was named, admired and taught, back in ancient Greece where memory was always connected with imagery (25). “Seeing” something was critically connecting with how you think and remember. For example, do you remember in a previous episode on canons, where we talked about how classical rhetors would create a place, say a palace, and then place facts around that palace so that they could visualize walking around to encounter the facts? It’s the same practice that popped up recently in an episode of the BBC series Sherlock. When you have a clear visual reminder of a place, an object, you can better remember the abstract principles or facts. Another reason why ekphrasis was central to the Greeks was because of the way people encountered composition: whether or not a speech was written down, it was almost always spoken aloud (26). When you’re listening rather than reading, it can be difficult to pay attention to long abstracts, but being invited into a visual scene is refreshing and entertaining. No TV, remember? This understanding of literacy may seem alien to modern readers, so Webb has to explain them explicitly Then she introduces ekphrasis to us the same way it was introduced to Greeks and Romans: through the Progymnasmata and other handbooks of instruction. In the pedagogical explanation, Webb emphasized that ekphrasis was seen as formative for young learners, a tool to advance socially, and as an absolutely transferable skill (47-51). Remember when we talked about the progymnasmata? The exercises that young Greek students went through? Well, ephrasis was part of the progymnasmata exercises and Webb sais it was “the exercise which taught students how to use vivid evocation and imagery in their speeches” as “an effect which transcents categories and normal expectations oflangauge” (53). She then gives readers a complete chapter discussing the subjects of ekphrasis that go beyond just descriptions of works of art, and, in fact, often focus on narrative aspects (68-70). She really has to define the term because we have several hundred years of misdefinition of the term as only associated with art. Webb also introduces us to two versions of ekphrasis: Enargia which makes “absent things present” and Phantasia which she links to “memory, imagination and the gallery of the mind” (v). Here’s an example of enargia from Theon: “When I am lamenting a murdered man will I not have before my eyes all the things which might believably have happened in the case under consideration? […] Will I not see the blow and the citicm falling to the ground? Will his blood, his pallor, his dying groans not be impressed on my mind. This gives rise to eneragia,[…] by which we seem to show what happened rather than to tell it and this gives rise to the same emotions as if we were present at the event itself” (qtd 94). Phantaias on the other hand, is creation, which might include “mythical and fantastic beats […] imagines through a process of synthesis, putting together man dna horse” (119) for example, or it might just be creatively expanding on the details of what we aren’t told. Quintilian describes this in terms of a quote from Cicero: “Is there anyone so incapable of forming images of things that, when he read the passace in [Cicero’s] Verrines ‘the praetor of the Roman people stood on the shoes dressed in slippers, wearing a purple cloak and long tunic, leaning on this worthless woman’ he does not only seem to see them, the place [..] but even imagines for himself some of those things which are not mentioned. I for my part certainly seem to see his face, his eyes, the unseemly caresses of both” (qtd 108). So there you have it. Ekphrasis can be about things that were or things that can be imagined To use an example, enargia would describe a scene that was distant, like a visit to Disneyland, while Phantaisa would create a scene that was fictional, like developing a new Disney movie adaption.               Webb’s book is certainly readable and her argument is very thorough, taking in a very large range of Classical civilization, spanning several hundred years and including both Eastern and Western Roman Empires. She’s also made the convincing argument that ekphrasis was a little bit of the sublime that could be made an effective argument in almost any situation. Many texts that talk about rhetoric of poetics make the “audacious” claim that poetics can be rhetorical; Webb’s book seems to be claim that the rhetorical was often, poetic.             I’m especially interested in this ancient idea that one thing a rhetor needs to do is make the audience see it, to be there and experience the event or object—existing, historical, hypothetical, or fantastic—to be “virtual witnesses” of it for themselves. This seems to be an interesting link between a logos-centered viewpoint that admits only one clear interpretation of objective facts and the obvious realization that the audience was being brought into “worlds […] not real” (169). The audience readily give themselves up to the “willing suspension of disbelief” to order to feel, and experience, the fictive ( and no matter its veracity, the ekphrasis is always fictive, even when the object is before the audience) world the rhetor carefully creates through word choice and selective description. There’s something potentially deceptive about ekphrasis. And to make a clean breast of it, I’ve bamboozled you, because when I’m writing this, I’m not actually in my cube—I’m flying in a window seat with an orange sunset lighting up the cabin from over the north Pacific Ocean. Even worse, I haven’t even redecorated my research cube—yet. And I’m not sure where I’ll be when I actually record this episode. Right now, the scene I described so convincingly was a bald-faced…phantasia. But I made you a witness with me. Ekphrasis is so immersive that it can be hard to challenge it It’s too bad that we don’t know more about how audiences were trained to read these ekphrasis: the handbook information is wonderful for describing the theory and practice from the rhetor’s side, but what might be the equivalent for readers? How does an audience respond to ekphrasis? Should they be skeptical or allow themselves to be swept away in the description and become willing witnesses? Hey, I don’t have the answer to this question. If you have thoughts on the proper way to respond to the ways that words create worlds, drop us a line a mererhetoricpodcast@gmail.com? Until then, I’ll be enjoying my nicely redecorated research cube. Maybe.  

Ekphrasis finds words for paintings and other visual phenomena; translation finds words for other words. But how secure in this distinction, given that language has visual form, and that the visual arts can employ language-like elements? This seminar explores the interplay between translation and ekphrasis.

Annette Coleman & Marj Hanhe host: Ekphrasis, poetry & visual intersection With Boulder Arts Week aproaching and the NoBo Art District hosting spoken word artists on First Friday this radio show will explore the connections that poetry and visual art share. Ekphrasis, a descriptive work of prose or poetry, a film, or even a photograph may thus highlight through its rhetorical vividness what is happening, or what is shown in, say, any of the visual arts, and in doing so, may enhance the original art and so take on a life of its own through its brilliant description. AnnetteColemanArtist.com MarjHanhe.com NoBoArtDistrict.com BoulderArtsWeek.org SusanDouglass.com MarcoMontanari-EncausticArt.com  

Poems written in response to the Sensing Spaces architectural exhibit at the Royal Academy, commissioned by Ekphrasis.

Poems written in response to the Sensing Spaces architectural exhibit at the Royal Academy, commissioned by Ekphrasis.

Poems written in response to the Sensing Spaces architectural exhibit at the Royal Academy, commissioned by Ekphrasis.

Poems written in response to the Sensing Spaces architectural exhibit at the Royal Academy, commissioned by Ekphrasis.

Poems written in response to the Sensing Spaces architectural exhibit at the Royal Academy, commissioned by Ekphrasis.

Poems written in response to the Sensing Spaces architectural exhibit at the Royal Academy, commissioned by Ekphrasis.

Michial Farmer converses with David Grubbs and Nathan Gilmour about John Keats's poem "Ode on a Grecian Urn." After some conversation about the formal innovations of this and other Keats odes, the crew digs into the strong Platonic strains of the poem, its place in the larger phenomenon called "Romanticism," and the poem's particular ideology of art and life. Among the ohter realities we take on are elegiac poetry, ekphrasis, whether the urn ever existed, and the ashtray outside of the University of Georgia English department.

Thu, 5 Jul 2012 12:00:00 +0100 https://edoc.ub.uni-muenchen.de/18479/ https://edoc.ub.uni-muenchen.de/18479/1/Paraforou_Fani.pdf Paraforou, Fani ddc:410, ddc:400, Fakultät für Sprach- und Literaturwissenschaften 0

Today's guest Joan McNerney talks about inspiration, particularly in regard to ekphrastic writing. She also talks about humor as a technique and we'll explore some of the reasons why writers write.

Sue MacLeod on two paintings by Alex Coleville: "Woman in Bathtub" and "Woman Climbing a Ramp".

Alison Watt on "Male Figure" and "Female Figure"

Rhea Tregebov on James Wilson Morrice's Beast of Burden

Julia Salverson on William Kurelek

John Reibetnanz on Christopher Pratt's Porch Light

Kye Marshall on Jean Paul Riopelle's Chevreuse II

Sue MacLeod on two paintings by Alex Coleville: "Woman in Bathtub" and "Woman Climbing a Ramp".

Julia Salverson on William Kurelek

Alison Watt on "Male Figure" and "Female Figure"

Rhea Tregebov on James Wilson Morrice’s Beast of Burden

Kye Marshall on Emily Carr's The Trees in the Sky

John Reibetnanz on Christopher Pratt’s Porch Light

Kye Marshall on Jean Paul Riopelle's Chevreuse II

Kye Marshall on Emily Carr's The Trees in the Sky

Sue Chenette on No. 12, Diptych: The Three Marys at the Sepulchre, The last Judgement, The Nativity and The Crucifixion, mid 14th century France. Ivory

Sue Chenette on No. 12, Diptych: The Three Marys at the Sepulchre, The last Judgement, The Nativity and The Crucifixion, mid 14th century France. Ivory