Ekphrasis and the Other
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| - | :"To radicals like [[Percy Bysshe Shelley]], [[Medusa]] was an "abject hero," a victim of tyranny whose weakness, disfiguration, and monstrous mutilation become in themselves a kind of revolutionary power." --"[[Ekphrasis and the Other]]" | ||
| "[[Ekphrasis and the Other]]" by [[ W. J. T. Mitchell]], excerpted from ''[[Picture Theory]]'' ([[The University of Chicago Press]]); the paper originally appeared in ''South Atlantic Quarterly'' XCI (Summer 1992), pg. 695-719. | "[[Ekphrasis and the Other]]" by [[ W. J. T. Mitchell]], excerpted from ''[[Picture Theory]]'' ([[The University of Chicago Press]]); the paper originally appeared in ''South Atlantic Quarterly'' XCI (Summer 1992), pg. 695-719. | ||
| + | ==Excerpts== | ||
| + | :"To radicals like [[Percy Bysshe Shelley]], [[Medusa]] was an "abject hero," a victim of tyranny whose weakness, disfiguration, and monstrous mutilation become in themselves a kind of revolutionary power." --"[[Ekphrasis and the Other]]" | ||
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| + | :The classic expression of [[ekphrastic]] fear occurs in [[Lessing's Laocoon]] , where it is "prescribed as a law to all poets" that "they should not regard the limitations of painting as beauties in their own art." For poets to "employ the same artistic machinery" as the painter would be to "convert a superior being into a doll." It would make as much sense, argues [[Lessing]], "as if a man, with the power and privilege of speech, were to employ the signs which the [[mute]]s in a Turkish [[seraglio]] had invented to supply the want of a voice.''[12] | ||
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"Ekphrasis and the Other" by W. J. T. Mitchell, excerpted from Picture Theory (The University of Chicago Press); the paper originally appeared in South Atlantic Quarterly XCI (Summer 1992), pg. 695-719.
Excerpts
- "To radicals like Percy Bysshe Shelley, Medusa was an "abject hero," a victim of tyranny whose weakness, disfiguration, and monstrous mutilation become in themselves a kind of revolutionary power." --"Ekphrasis and the Other"
- The classic expression of ekphrastic fear occurs in Lessing's Laocoon , where it is "prescribed as a law to all poets" that "they should not regard the limitations of painting as beauties in their own art." For poets to "employ the same artistic machinery" as the painter would be to "convert a superior being into a doll." It would make as much sense, argues Lessing, "as if a man, with the power and privilege of speech, were to employ the signs which the mutes in a Turkish seraglio had invented to supply the want of a voice.[12]
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