This dissertation offers a new literary history of the tradition of the “sister arts” in England during the eighteenth and early nineteenth centuries. While previous scholarship has explored how canonical male poets conceived of their poetry in relation to painting, this project demonstrates that female poets also engaged in various forms of literary pictorialism. By attending to the work of these women writers alongside their male contemporaries, we gain a richer and more complex understanding of how poets evaluated the boundaries between verbal expression and visual composition. In line with my aim to offer a more nuanced historical account of the sister arts by including the contributions of women writers, I also examine the gendered conventions of this tradition. In my first chapter, I contend that poetry written by Anne Killigrew and Anne Finch calls into question common critical assumptions about the power dynamics of ekphrasis (the verbal description of visual art). The second chapter explores how Anna Barbauld, Anna Seward, and Amelia Opie respond to the influential model for verse epistles on the sister arts established by John Dryden and Alexander Pope, which assumes that poets and artists are male while the muses and objects of representation are female. In the third chapter, I argue that concepts derived from visual art animate the elegiac practices of Thomas Gray and Anna Seward, as they explore how acts of gazing can manifest same-sex desire. My final chapter shows how the concept of fancy, represented either as a mental creative process contrasted with imagination or as a personified female figure, comes to be associated with both visual power and femininity. I trace this poetics of fancy from essays by John Locke and Joseph Addison to Pope’s Eloisa to Abelard, the odes of William Collins, the sonnets of Charlotte Smith, and Visions of the Daughters of Albion by William Blake. The qualities that lead some writers to denigrate fancy—its association with femininity rather than masculinity, dreams rather than reality, and temptation or liberation rather than constraint—are precisely the same qualities that lead the major pictorial poets to seek to internalize it. / 2018-08-11T00:00:00Z

The submitted thesis focuses on the use of the traditional ancient genre of ekphrasis (a specific form of description of a work of visual artefact) in modern literature. Individual interpretative perspectives are demonstrated using selected works of Czech poetry and prose from the 19th, 20th and 21th centuries (by Jaroslav Vrchlický, Julius Zeyer, Jiří Karásek ze Lvovic, Alois Jirásek, Jaroslav Durych, Jaroslav Maria, František Langer, Bohumil Hrabal and Miloš Urban). The metodological focus primarily anchors the thesis in the theory of intermediality (Werner Wolf, Irina Rajewsky); concepts from art theory and visual studies are also applied (e.g. Norman Bryson?s distinction ?the gaze? ? ?the glance?). The thesis first outlines the context of the history of ekphrasis as a rhetorical category and as a genre, the existing research on ekphrasis, and the problems of defining ekphrasis as verbal representation of a visual representation. It considers the distinction between actual and notional ekphrasis (John Hollander) from the point of view of the literary theory, and also employs the category of the pictorial model (Tamar Yacobi). The next chapter examines the role of the beholder in ekphrasis, first from the point of view of his position in the fictional world (e.g. the observer is a character in a fictional world and at the same time projects himself into the ?fictional world? of the visual representation), and second in distinguishing the mode of description and the mode of interpretation. The thesis also defines some specific ekphrastic techniques and gestures, for example: How can the act of perceiving and observing a visual representation be realized in the structure of its verbal representation? How does a static description become dynamic through direct integration of ekphrasis into the structure of the narrative ? into the structure of a particular scene (microstructure of an action) or the plot as a whole (macrostructure of a story)? What are the roles and functions of ekphrastic passages in the framework of the text as a whole (ekphrasis need not be simply a pause in the narration which is easy to eliminate)? Finally, how can the verbal medium, using its own means, imitate or simulate the media-specific techniques of another type of art.

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-06Bitstream added on 2014-06-13T20:13:46Z : No. of bitstreams: 1 garcia_gr_me_arafcl.pdf: 2698386 bytes, checksum: 57264367d5edcd6e66c4e130e47ad7dc (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta dissertação pretende demonstrar a relação que Almeida Faria, escritor português, promove entre palavra e imagem na configuração da narrativa do romance O Conquistador (1990), em que há uma intenção comunicativa e representativa de escrita como forma de expressão do percurso histórico português. Por meio da instrumentação teórica da Ekphrasis, será analisada a relação entre o texto não-verbal das imagens que acompanham toda a trama da obra, desde a capa e nos sete capítulos – cujas composições são do artista luso Mário Botas (1953-1983) - e as descrições dessas imagens dentro da narrativa. Na observação desta relação, serão identificados processos ekphrásicos, de acordo com o entendimento moderno da sua teoria, através dos quais será demonstrado como a Ekphrasis baseia-se nas imagens não-verbais para criar outras imagens verbais a partir dessa apropriação, o que sugere estratégias representativas que compõe a relação, atribuindo à narrativa vivacidade de linguagem e, ao mesmo tempo, narratividade ao texto não-verbal, aspectos que trabalham para ampliar e plurissignificar os sentidos do texto. / This dissertation intends to show the relation that Almeida Faria, Portuguese writer, promotes between word and picture in the organization of the narrative of the novel O Conquistador (1990), in which there is a communicative and representative intention of writing as a way of expression of Portuguese historic rout. By means of theoric instrumentation of the Ekphrasis, will be analyzed the communication between non-verbal text of the pictures that follow throughout the plot of the work, from cover and through the seven chapters, which compositions belong to Portuguese artist Mário Botas (1953-1983), and the descriptions of these pictures in the narrative. In the observation of this relation will be identified ekphrastics process, according to modern understanding of his theory, which one will be shown how the Ekphrasis takes as base, the pictures to create other verbal images from these appropriations, which suggest representative strategies that compose the relation, attributing vivacity of language to the narrative and in the same time, narrative way to the non-verbal text aspects that work to broaden and give several meanings to the senses of the text.

My twofold aim with this essay is, firstly, to examine the ideas about art expressed in the novel The Picture of Dorian Gray by the Victorian author Oscar Wilde. Secondly, I analyse how Oscar Wilde has implemented the philosophy of aestheticism throughout his novel. I achieve this by discussing the novel from the perspectives of the arts of painting, acting and literature. I examine the ideas expressed through the three main characters Dorian Gray, Basil Hallward and Lord Henry Wotton. I give occurrences of alliteration, epigrams and theatrical traits of the novel as examples of how the novel in itself is a beautiful work of art. With this essay I wish to highlight the need for all types of art mentioned in The Picture of Dorian Gray to be included in any discussion about art in the novel. My thesis statement is that the philosophy of aestheticism is promoted throughout the novel. This philosophy states that art should only be seen as something beautiful. Art should not be expected to teach its audience any moral lessons. The over-all conclusion is that it is indeed the philosophy of aestheticism that is promoted in The Picture of Dorian Gray, and the ideal of male beauty in particular.

The relationship between literature and the visual arts is ancient and it has been studied from different conceptual frames. Scholars agree that both have a descriptive function and therefore share the common goal of portraying a fictional or nonfictional reality. Based on this correspondence between two different modes of artistic expression, the Roman poet Horace coined the well-known simile ut pictura poesis --as is painting so is in poetry-- which in turn functions as the theoretical underpinning of ekphrasis, a rhetorical device through which one medium of art tries to describe the essence and form of another medium of art, with the purpose of enhancing the original work described. Spanish post-romantic poet and writer Gustavo Adolfo Bécquer (1836-1870) mastered this rhetorical strategy by expertly weaving all of his artistic interests into his prose. The purpose of this dissertation is to analyze how Bécquer makes his readers both see and hear through his prose. My semiotic research encompasses the various forms of ekphrasis used by Bécquer in the “Leyendas”. It shows how both images and symbols produce in readers sensory experiences that enhance their role as active participants in the creation of meaning. Thus, Bécquer´s prose is like a painting which not only tells a story, but also reflects reality through the eyes of the reader’s imagination. By using these ekphrastic strategies in his collection of short stories, Bécquer makes words, paintings, and music converge and collide with iconography, visual culture, and intertextuality. These components must be read, seen, heard, and understood to be more than just complementary to the text, but rather crucial elements, equal in importance to verbal expression. This analysis shows how Bécquer’s “Leyendas” not only tackle notions such as fantasy, figuration, and imagination, but also the importance of the reader´s gaze. Bécquer integrates processes such as imaginative action, iconization and visualization, into a semantic web whereby the reader creates his own particular hermeneutic image.

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Mémoire en recherche-création / En partant de l’idée selon laquelle le souvenir serait d’abord une image, ce mémoire en recherche-création s’intéressera à l’image traumatique dans ses liens avec la construction de la mémoire. Le court roman Les disparus de juillet, explore l’idée d’un retour sur soi s’opérant autour d’images enfouies dans la mémoire et de descriptions photographiques constituant le trauma d’une désillusion amoureuse. À partir d’un aller-retour entre le passé et le présent de l’écriture, c’est le souvenir d’une situation de triangulation obsédante qui sera ici restituée au travers du regard posé par la narratrice sur l’autre femme et la fille qu’elle a été. Cet enjeu du souvenir comme une image ineffaçable se trouve au cœur de la construction du roman Mémoire de fille d’Annie Ernaux, que j’interrogerai ensuite dans le volet essai. Alors que les images seront entrevues sous le mode de l’ekphrasis, c’est-à-dire comme parole descriptive issue de l’image, sera exploré comment l’écriture autofictionnelle peut se déployer à partir de l’image mentale et de la description photographique de manière à remémorer le passé. Le roman et l’essai tenteront ultimement de sonder la part de création que requiert le recours aux ekphraseis, l’appréhension du monde au travers des images demeurant toujours à bonne distance de la réalité. / Starting from the idea that memory is first and foremost an image, this creative research dissertation will focus on the intersection of traumatic images and the construction of memories. The short novel Les disparus de juillet explores the idea of a return to oneself, operating around images buried in the memory and photographic descriptions representing the trauma of romantic disillusionment. Through a trip between the past and the present of the writing, it is the memory of a situation of obsessive triangulation— which will be restored here through the gaze posed by the narrator on the other woman, and the girl she once was. This issue of memory as an indelible image is at the heart of the construction of the novel Mémoire de fille by Annie Ernaux, which I will examine in the essay section. As the images will be glimpsed in the mode of ekphrasis, that is to say written descriptions of an image, I will explore how autofictional writing can unfold from the mental image and the photographic description, so as to recall past experiences. Both the novel and the essay will ultimately attempt to probe the part of creation that the use of ekphrasis requires, the apprehension of the world through images always remaining distant from reality.

In her 1895 novel, Professor Hieronimus, Amalie Skram describes the struggle of Else Kant, a young mother and artist, against a tyrannical and apparently unfeeling doctor who keeps her at a Copenhagen asylum for more than a month against her will. Else feels terrorized by the constant surveillance to which she is subjected. This voyeuristic tendency in psychiatry is not only a reflection of Amalie Skram's own experience at a Copenhagen asylum, but is also indicative of a new psychiatric epistemology that understood visual observation as the key to ascertaining objective truth. Skram's novel is thus read against the backdrop of Jean-Martin Charcot's intensely visual treatment practices at the Salpêtrière hospital in Paris, with a specific focus on the photographs of hysterical women Charcot commissioned and published. This voyeuristic/exhibitionistic dynamic between doctor and patient is also cast in semiotic terms, showing how arguments made as early as Lessing's Laokoon provide a useful way of understanding the essential differences between verbal and visual art, and for understanding the tensions between doctor and the patient. W.J.T. Mitchell's notion of "ekphrastic fear" proves a useful concept for demonstrating how anxieties about the breaking down of the strict boundaries between visual and verbal art correspond neatly to similar anxieties that the doctor had about the transgressive potential of a patient who takes up language and describes her condition. These tensions between word and image also highlight the particular historical context in which Skram's novel appeared. Professor Hieronimus was published the same year as Freud and Breuer's Studies on Hysteria, which many consider the founding document of Freudian psychoanalysis. Although writing for completely different audiences, both Freud and Skram argue for the value of the patient's verbal utterances at a time when the patient was seen as little more than a visual specimen whose disorders could only be accurately ascertained by the acute vision of a doctor. In his promotion of the "talking cure," Freud diverged sharply with his mentor, Charcot, and this turning point in psychiatric history from a visual to a verbal epistemological model highlights the timeliness and importance of Skram's novel.

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