Abstract
When I first began my research on ekphrasis about 10 years ago, I kept finding myself in the same situation whenever I mentioned the term ekphrasis to colleagues in literary studies. Its sheer mention produced a strange look on their faces that told me two things: first, that they did not know what it meant and second, that they thought they should know. After a while I tried to avoid the intimidating term by using awkward paraphrases like ‘literary descriptions of paintings,’ ‘verbal renderings of pieces of visual art’ or ‘literary allusions to art.’ Interestingly enough, the situation has changed over the past few years. When I try out my crude paraphrases on literary scholars now, they tend to respond by asking me whether it is ekphrasis that I am working on.
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