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• W99510385 abstract "Ekphrasis, by which I mean the description of works of art, (1) has many forms in antiquity. It would be too simple to bracket together the kind of ekphrastic display oratory that survives from the pens of Lucian, Philostratus, and Libanius with the poetic descriptions of art that appear within long poems (most famously in the Iliad and Aeneid but also in Catullus 64, Ovid's Metamorphoses, and Silius Italicus), or as the principal subjects of short poems and epigrams (from Theocritus and Posidippus to Ausonius), or as vivid visual insets or proems within prose novels. Rather, my specific focus here, in trying to theorize some of the psychodynamics of ekphrasis, will be on its rhetorical forms, as prescribed in the so-called progymnasmata (trainee-orators' handbooks), and as exemplified above all in the Imagines of Philostratus the Elder. (2) Ekphrasis, I submit, works simultaneously along two axes: the visual axis of a viewer, an object, and the speech generated (which is a kind of record of a view); and the verbal axis of a speaker, an audience, and the speech that communicates between them. speech--the ekphrasis itself--thus fulfils two roles at once: it mediates the spectator's view of the object in verbal terms and enacts a dialogue between the speaker and the listener. speech is a twofold attempt to establish a relationship: on the one hand between viewer and object, on the other between speaker and hearer. In each case, the object and the hearer are Other from the viewpoint of the speaker/spectator's subjectivity; the speech is the means--whether controlled, paranoid, alienated, or self-deluding--to create a bridge over the gap between self and Other. But since the two processes are always simultaneous and often in conflict, the resulting speech is frequently an occlusion of one of these Others, even when it may most explicitly profess to expose or celebrate that Other in its verbal performance. ancient rhetorical handbooks, each of which effectively rewrites and largely repeats its predecessors, (3) make two crucial points about ekphrasis. First, it is a descriptive account (the Greek is [TEXT NOT REPRODUCIBLE IN ASCII], which literally means guiding the listener around the subject). Second, its key feature is enargeia, the quality of bringing what is described vividly before the eyes of the listener. (4) In the words of Hermogenes, The virtues of ekphrasis are clarity [[TEXT NOT REPRODUCIBLE IN ASCII]] and visibility [[TEXT NOT REPRODUCIBLE IN ASCII]]; for the style must through hearing operate to bring about seeing (Prog. 49). For my purposes here, it is worth remarking that this emphasis lends a certain psychoanalytical resonance to the practice of ancient ekphrasis, for it deals with the deliberate manipulation of both the speaker's and the listeners' imagination and desire. Ekphrasis always operates in the realm of the imaginary, the realm where sublimation and transference are most forcefully located. A Freudian Model for Ekphrasis In Jokes and Their Relation to the Unconscious, (5) Sigmund Freud proposes a brilliant structural model for the way tendentious jokes, that is, jokes that serve an aim beyond simply raising a laugh (132), work both in terms of their speaker's intention and as a social process. Freud argues (140-46) that obscene jokes (or smut) function according to a triangular pattern in which the speaker (archetypically male) directs smutty talk about a second person (female) to a third person (again male): Generally speaking, a tendentious joke calls for three people: in addition to the one who makes the joke, there must be a second who is taken as the object of hostile or sexual aggressiveness, and a third in whom the joke's aim of producing pleasure is fulfilled. (143) In Freud's model, the joker has a libidinal impulse towards the woman who is the object of his joke. Her resistance to his advances occasions a hostility that emerges as a joke directed towards the third person, the listener, whom he summons as an ally. …" @default.
• W99510385 created "2016-06-24" @default.
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• W99510385 date "2004-03-22" @default.
• W99510385 modified "2023-10-14" @default.
• W99510385 title "Seeing and Saying: A Psychoanalytic Account of Ekphrasis" @default.
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