Modern Ekphrasis explores the analogical relations between modern
poetry and painting in ekphrasis from Horace's mimetic "ut pictura
poesis" tradition to Lessing's temporal/spatial antithesis, and the
analogy's post-modern deconstruction with Derrida. The genesis of
ekphrasis is demonstrated by close analytical readings of modern
poems by Howard Nemerov, W.C. Williams, Sylvia Plath, and John
Ashbery, mostly written on modern paintings by Paul Klee, Charles
Demuth, Giorgio de Chirico, and Frank Stella. In an innovative
approach, the author applies Anton Ehrenzweig's concept of
"unconscious scanning" to a syncretic visualisation of Klee's
Mountain Flora. Viewed with an undifferentiated depth vision that
can fix the figure and background in a single glance, Mountain
Flora acquires deeper verisimilitude. The self-reflexivity of the
poems which comments on their creative processes and the
interrelations of ekphrasis with cognition are analysed after the
critical writings of Freud, Panowsky, Gombrich, Hagstrum, Arnheim,
Steiner, Ehrenzweig, Derrida, and in the light of the latest
neuroscientific discoveries. Homer's shield, Swift's tree, W.C.
Williams' pot of flowers, and Ashbery's canvas create a suture
within the ekphrastic poem in our imagination. This book
demonstrates the evolution of literature and the humanities in our
society from classicism to post-modernism which counteracted the
self-alienation caused by our modern communication technology by
inventing new socio-artistic circuits and new social identities.
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