03138nam a22004935i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001000172072001600182072002300198072001600221100008500237245010600322250001800428264006900446300006200515336002600577337002600603338003600629347002400665490003800689505020400727520123300931650004002164650003502204650002302239650002702262650002802289650002302317710003402340773002602374776003602400776003602436776003602472830004502508856004602553912001402599912001402613999001702627978-3-031-52897-2DE-He21320251030112629.0cr nn 008mamaa240715s2024    sz |    s    |||| 0|eng d  a97830315289729978-3-031-52897-27 a10.1007/978-3-031-52897-22doi 4aHM623 7aJFC2bicssc 7aSOC0020102bisacsh 7aJBCC2thema1 aCometa, Michele.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut98058814aThe Literary Life of Picturesh[electronic resource] :bA Theory of Description /cby Michele Cometa.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Springer,c2024.  aVI, 136 p. 9 illus., 1 illus. in color.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aUNIPA Springer Series,x2366-75240 aAncient is Modern -- Scopic Regimes -- Modes of Description.-Text/Image -- Pictures -- Gazes -- Dispositives -- Denotation -- Dynamisation -- Integration -- Coda. Toward a Narratology of Description.  aThis book offers a theory of ekphrasis—the literary description of an artwork—from the perspective of Visual Culture studies. A theory of ekphrasis must take into account not only the rhetorical strategies articulated in the description of artworks, but also the complex interplay that holds together the pictures that are described, the gazes that rest on them, and the dispositives that mediate them. It is therefore a matter of linking the study of the verbal rhetoric with the dynamics that are established between the author, the reader, and the visual artworks, real or fictive, as well as the performative aspects of description and the mediascapes that, from time to time, condition the gaze and the visual experience of the authors and the readers. This book proposes thus to consider both the intradiegetic aspects of description and the extradiegetic ones that condition its verbal texture. Following the rhetorics of ekphrasis throughout the Western tradition, from its origins in Philostratus, its reappraisal by Johann Joachim Winckelmann, to the twentieth-century avant-garde, this book shows how ekphrastic techniques are historically determined by the relationship between pictures, gazes, and dispositives. 0aCulturexStudy and teaching.966082 0aLiteraturexPhilosophy.966322 0aAesthetics.96400014aVisual Culture.96608424aLiterary Theory.96178724aAesthetics.9640002 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303152896508iPrinted edition:z978303152898908iPrinted edition:z9783031528996 0aUNIPA Springer Series,x2366-752497441040uhttps://doi.org/10.1007/978-3-031-52897-2  aZDB-2-LCM  aZDB-2-SXL  c61606d61606