What Is Ekphrasis for?

Abstract

Previous articleNext article No AccessWhat Is Ekphrasis For?Simon GoldhillSimon GoldhillKing’s College, Cambridge Search for more articles by this author King’s College, CambridgePDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Classical Philology Volume 102, Number 1January 2007Special Issues on EkphrasisEdited by Shadi Bartsch and Jaś Elsner Article DOIhttps://doi.org/10.1086/521129 Views: 459Total views on this site Citations: 20Citations are reported from Crossref [© 2007 by The University of Chicago. All rights reserved.]PDF download Crossref reports the following articles citing this article:Laura Schmitz-Justen “Art is Seeing Things”: Ekphrastic Education in Ali Smith’s Seasonal Quartet, English Studies 103, no.22 (Mar 2022): 317–337.https://doi.org/10.1080/0013838X.2022.2043033Paroma Chatterjee Between the Pagan Past and Christian Present in Byzantine Visual Culture, 3 (Sep 2021).https://doi.org/10.1017/9781108985628Magdalena Garnczarska Some Remarks on the Significance of Gold Based on Byzantine Ekphraseis of Works of Art, Studia Ceranea. Journal of the Waldemar Ceran Research Centre for the History and Culture of the Mediterranean Area and South-East Europe 10 (Dec 2020): 83–121.https://doi.org/10.18778/2084-140X.10.05Nikolaos Papazarkadas, Jenny Wallensten Religion and family politics in Hellenistic Kalaureia. Three new inscriptions from the sanctuary of Poseidon, Opuscula. Annual of the Swedish Institutes at Athens and Rome 13 (Nov 2020): 139–222.https://doi.org/10.30549/opathrom-13-06Cory Geraths Civic ekphrasis : Classical and contemporary description in the public-speaking classroom, Communication Teacher 34, no.33 (Sep 2019): 210–215.https://doi.org/10.1080/17404622.2019.1662935Anna Kotłowska, Katarzyna Gucio Love and Theatre in the Works of Nikephoros Basilakes, Studia Ceranea 9 (Dec 2019): 543–574.https://doi.org/10.18778/2084-140X.09.27Kate Mitchell Painted Traces: Art and Ekphrasis in Elizabeth Kostova's The Swan Thieves, Victoriographies 9, no.33 (Nov 2019): 259–279.https://doi.org/10.3366/vic.2019.0353Linda Grant Latin Erotic Elegy and the Shaping of Sixteenth-Century English Love Poetry, 16 (Aug 2019).https://doi.org/10.1017/9781108663847Yvonne Liebermann The return of the ‘real’ in Ali Smith’s Artful (2012) and How to Be Both (2014), European Journal of English Studies 23, no.22 (Oct 2019): 136–151.https://doi.org/10.1080/13825577.2019.1640416Lili Pâquet Selfie‐Help: The Multimodal Appeal of Instagram Poetry, The Journal of Popular Culture 52, no.22 (Apr 2019): 296–314.https://doi.org/10.1111/jpcu.12780Nathaniel B. Jones Painting, Ethics, and Aesthetics in Rome, 94 (Jan 2019).https://doi.org/10.1017/9781108329514Udo Kannengiesser, John S. Gero Ekphrasis as a Basis for a Framework for Creative Design Processes, (Jan 2019): 265–283.https://doi.org/10.1007/978-3-030-05363-5_15Renate Brosch Ekphrasis in the Digital Age, Poetics Today 39, no.22 (Jun 2018): 225–243.https://doi.org/10.1215/03335372-4324420Catherine Ware The ashplant and the golden bough: Heaney in Vergil’s labyrinth, Classical Receptions Journal 30 (May 2018).https://doi.org/10.1093/crj/cly007Nigel Krauth, Christopher Bowman Ekphrasis and the writing process, New Writing 15, no.11 (May 2017): 11–30.https://doi.org/10.1080/14790726.2017.1317277Peter A. O’Connell Enargeia , Persuasion, and the Vividness Effect in Athenian Forensic Oratory, Journal for the History of Rhetoric 20, no.33 (Sep 2017): 225–251.https://doi.org/10.5325/jhistrhetoric.20.3.0225Peter A. O’Connell Enargeia , Persuasion, and the Vividness Effect in Athenian Forensic Oratory, Advances in the History of Rhetoric 20, no.33 (Sep 2017): 225–251.https://doi.org/10.1080/15362426.2017.1384766Maria-Eirini Panagiotidou ‘In the mind’s eye’: A cognitive linguistic re-construction of WD Snodgrass’ ‘Matisse: The Red Studio’, Language and Literature: International Journal of Stylistics 25, no.22 (May 2016): 130–144.https://doi.org/10.1177/0963947016636272Susan L. Fischer (Re)staging the Tragic Gaze in Lope's El castigo sin venganza : A Verbal (Mis)representation of a Visual Representation?, Comedia Performance 12, no.11 (Apr 2015): 137–167.https://doi.org/10.5325/comeperf.12.1.0137Asma Mansoor Ekphrastic Practices in Catalysing Creative Writing in Undergraduate ESL Classrooms, New Writing 11, no.22 (Apr 2014): 208–227.https://doi.org/10.1080/14790726.2014.904887