Poetry, Photography, Ekphrasis

Lyrical Representations of Photographs from the 19th Century to the Present

Inbunden, Engelska, 2015

AvAndrew Miller,University of Copenhagen (Denmark)) Miller, Andrew (Department of English, Germanic and Romance Studies

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Poetry, Photography, Ekphrasis is a detailed study of the ekphrasis of photography in poetry since the 19th century. Unlike other critical studies of ekphrasis, Miller’s study concentrates solely on the lyrical ekphrasis of photographs, setting out to define how the photographic image provides a unique form of poetic ekphrasis. Moving between the disciplines of semiotics, visual studies, psychology, classical rhetoric, philosophy and literary criticism, Miller outlines what he defines as the chronotope of the photograph. Employing M.M. Bakhtin’s notion of the literary chronotope, Miller argues that the ekphrasis of photographs manifests itself in a series of chronotopic narratives. Each chapter of the book is dedicated to delineating one of these narratives. In this work, Miller engages in a literary history that follows the timeline of photography from its origins in the 19th century to its contemporary digital manifestations in the 21st. The study engages in close-readings of the works of such poets as Walt Whitman, Lewis Carroll, Thomas Hardy, Seamus Heaney, Marianne Moore and Philip Larkin. In addition, the book does the work of a comparative study, and it goes beyond the limits of Anglophone literature to include the works of such poets and writers as Walter Benjamin, Charles Baudelaire, Bertolt Brecht, Ernesto Cardenal and Zbigniew Herbert.

Produktinformation

Utgivningsdatum2015-09-14
Mått163 x 239 x 25 mm
Vikt656 g
FormatInbunden
SpråkEngelska
Antal sidor256
FörlagLiverpool University Press
ISBN9781781381908

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Fotoböcker inom Kultur

AcknowledgmentsA Note on the Presence of Translations and Poems in their Original LanguagesIntroductionThat Which Will Not Perish Into Art: The Chronotope Of The PhotographThe Ekphrasis Of The Cicerone: The 19th CenturyNo Fairer Imaging: Pope Leo XIII’s “Ars Photographica”Favoring Nature: Herman Melville’s “On the Photograph of a Corps Commander”As Ducks That Die in Tempests: Lewis Carroll’s “Hiawatha’s Photographing”Imprints on a Mind of Silver: Walt Whitman’s “My Picture-Gallery”The Snapshot ElegyLike Bitter Tokens: Ivor Gurney’s “Photographs”The Enargeia of the Flames: Thomas Hardy’s “The Photograph”Prosthetic Heavens: Philip Larkin’s “Lines on a Young Lady’s Photograph Album”The Suppressed EkphrasisSeeing Like Herodotus: Marianne Moore’s “The Paper Nautilus”Seeing Through an Opaque Repose: Seamus Heaney’s “The Grauballe Man”The Ekphrasis Of Iconic PhotographsThe Horror of War: Sharon Olds’s “Coming of Age, 1966,” Kate Daniels’s “War Photograph” and Louis de Paor’s “Changeling”A People’s Prayer: Ernesto Cardenal’s “Prayer for Marilyn Monroe”The Ekphrastic CalligramAll in the Rubbish Heap Now: Thom Gunn’s PositivesLooking Hard At Things: Richard Howard’s “Charles Baudelaire”A Sacred Exposure: John Logan’s “On a Photograph by Aaron Siskind”The Anti-Ekphrasis: Larry Levis’s “Sensationalism”The Speaking PhotographThe Helmets of the Vanquished: Bertolt Brecht’s War PrimerDream After Dream After Dream: Adam Thorpe’s “Navaho”The Shadow Of The Former SelfPink and White, Black and White: Robert Penn Warren’s “Old Photograph of the Future”On Zeno’s Arrow: Zbigniew Herbert’s “Photograph”A Head of Fungus: John Ashbery’s “The Picture of Little J. A. in a Prospect of Flowers”The Photoshopped Image: The Ekphrases Of Digital PhotographsSoftware Metaphors: Tadeusz Dąbrowski’s “I scanned my photograph from the first year” and “Resolution”A Sublimely Blurred Unity: Klara Nowakowska’s “Low Resolution”Coda: Sallie In Her Byzantine MirrorBibliographyIndex