AustLit
Latest Issues
AbstractHistoryArchive Description
'Although James A.W. Heffernan influentially defines contemporary ekphrasis as ‘the verbal representation of visual representation’ (1993, 3), we argue for a more dynamic and fluid understanding of ekphrasis. In particular, we focus on the multiple and indeterminate perspectives created by ekphrastic poetry, emphasising the way ekphrastic poetry develops complex and interart relationships that cause a fracturing and/or stretching in the perspectives of both the poem and the artwork(s) it invokes. A powerful in-between or liminal ekphrastic space is created in which meanings tug, pull, swirl and merge. As new meanings are created ‘betwixt and between’ (Turner, Victor W. 1979. “Betwixt and between: The Liminal Period in Rites de Passage.” In Reader in Comparative Religion: An Anthropological Approach, edited by W. A. Lessa and E. Z. Vogt, 234–243. New York: Harper and Row, 234), an ekphrastic point of view emerges, problematising and questioning both-artworks-at-once and highlighting the provisional as it probes what can possibly be said in language about modes of artistic representation in artworks. Additionally, because poetic ekphrasis cannot fully represent, and always reinterprets, another artwork, it is engaged in processes of substitution through which poetic tropes stand in for some of the content of the original artwork. In applying these ideas to the relationships of ekphrastic prose poems to works of visual art, we explicate works by David Grubbs and Lorette C. Luzajic, as well as our own ekphrastic prose poetry.' (Publication abstract)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Not Paying Attention : Fast and Loose Ekphrasis
2023
single work
essay
— Appears in: Axon : Creative Explorations , November vol. 13 no. 2 2023;'This hybrid critical/creative paper addresses ekphrasis in an age characterised by short attention spans. It suggests that while ekphrasis is generally considered as arising from a poet’s close attention to an artwork -- the product of what psychologist Daniel Kahneman terms System 2 perceptions that require time -- and can in turn prompt the reader to return to an artwork with heightened attention, it can also represent the fleeting glimpse that characterises much of our sensory experience of the world around us and, indeed, art. Considering Owen Bullock’s idea of ‘radical ekphrasis’ in relation to Kahneman’s category of System 1 perceptions – that is, immediate response to stimuli -- this paper explores the possibilities of an ekphrasis of the transitory and concludes with an example thereof.' (Publication abstract)
-
Not Paying Attention : Fast and Loose Ekphrasis
2023
single work
essay
— Appears in: Axon : Creative Explorations , November vol. 13 no. 2 2023;'This hybrid critical/creative paper addresses ekphrasis in an age characterised by short attention spans. It suggests that while ekphrasis is generally considered as arising from a poet’s close attention to an artwork -- the product of what psychologist Daniel Kahneman terms System 2 perceptions that require time -- and can in turn prompt the reader to return to an artwork with heightened attention, it can also represent the fleeting glimpse that characterises much of our sensory experience of the world around us and, indeed, art. Considering Owen Bullock’s idea of ‘radical ekphrasis’ in relation to Kahneman’s category of System 1 perceptions – that is, immediate response to stimuli -- this paper explores the possibilities of an ekphrasis of the transitory and concludes with an example thereof.' (Publication abstract)
