Examining a wide range of ekphrastic poems, David Kennedy argues
that contemporary British poets writing out of both mainstream and
avant-garde traditions challenge established critical models of
ekphrasis with work that is more complex than representational or
counter-representational responses to paintings in museums and
galleries. Even when the poem appears to be straightforwardly
representational, it is often selectively so, producing a 'virtual'
work that doesn't exist in actuality. Poets such as Kelvin
Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests,
relish the ekphrastic encounter as one in which word and image
become mutually destabilizing. Similarly, other poets engage with
the source artwork as a performance that participates in the
ethical realm. Showing that the ethical turn in ekphrastic poetry
is often powerfully gendered, Kennedy also surveys a range of
ekphrastic poets from the Renaissance and nineteenth century to
trace a tradition of female ekphrastic poetry that includes Pauline
Stainer and Frances Presley. Kennedy concludes with a critique of
ekphrastic exercises in creative writing teaching, proposing that
ekphrastic writing that takes greater account of performance
spectatorship may offer more fruitful models for the classroom than
the narrativizing of images.
General
| Imprint: |
Ashgate Publishing Limited
|
| Country of origin: |
United Kingdom |
| Release date: |
April 2012 |
| First published: |
2012 |
| Authors: |
David Kennedy
|
| Dimensions: |
234 x 156 x 19mm (L x W x T) |
| Format: |
Hardcover
|
| Pages: |
196 |
| Edition: |
New Ed |
| ISBN-13: |
978-1-4094-1880-1 |
| Categories: |
Books >
Reference & Interdisciplinary >
Communication studies >
General
|
| LSN: |
1-4094-1880-4 |
| Barcode: |
9781409418801 |
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