Modern Ekphrasis

Emily Bilman is a poet and literary critic in Geneva. She earned her PhD from East Anglia University, where she taught literature. She contributes regularly to literary magazines with interdisciplinary articles. Her book of poems in French is entitled La rivière de soi. Her poems were published in T. S. Eliot Journal, The London Magazine, Hunger Mountain, Exchanges, Offshoots, Orbis, and The Princeton Alumni Weekly. Her doctoral thesis is published as The Psychodynamics of Poetry.

• Contents: The Analogy Between Poetry and Painting in Classical Antiquity – G.E. Lessing’s Distinction Between the Spatial and the Temporal Arts and Modern Criticism – Temporal Movement Captured in Marcel Duchamp’s painting and X.J. Kennedy’s poem “Nude Descending A Staircase” – A. Cronin’s poem, “Lines for a Painter” and P. Swift’s “Tree in Camden Town” – Slyvia Plath’s Subjective Reactionary Ekphrasis In “The Disquieting Muses” and Giorgio de Chirico’s painting of the same name – The Interrelation Modern Ekphrasis with Cognition, Perception, and Memory – Micheal Hamburger’s poem, “A Painter Painted” and Lucien Freud’s “Francis Bacon” – The Spatio-Temporal Dimension of Literary Iconicity in W. C. Williams' "The Pot of Flowers" and Charles Demuth's “Tuberoses” – A Semiotic Comparison Between Linguistic and Pictorial Signs – The Sign-Thing Interaction in Howard Nemerov’s poem “The Painter Dreaming in the Scholar’s House”, Paul Klee’s “Mountain Flora” and Ehrenzweig’s “Unconscious Scanning” – The Seeds of Post-Modernism: Jacques Derrida, Frank Stella, and John Ashbery’s “The Painter”.