Bibliografía

Contents: The Analogy Between Poetry and Painting in Classical Antiquity - G.E. Lessing's Distinction Between the Spatial and the Temporal Arts and Modern Criticism - Temporal Movement Captured in Marcel Duchamp's painting and X.J. Kennedy's poem "Nude Descending A Staircase" - A. Cronin's poem, "Lines for a Painter" and P. Swift's "Tree in Camden Town" - Slyvia Plath's Subjective Reactionary Ekphrasis In "The Disquieting Muses" and Giorgio de Chirico's painting of the same name - The Interrelation Modern Ekphrasis with Cognition, Perception, and Memory - Micheal Hamburger's poem, "A Painter Painted" and Lucien Freud's "Francis Bacon" - The Spatio-Temporal Dimension of Literary Iconicity in W. C. Williams' "The Pot of Flowers" and Charles Demuth's "Tuberoses" - A Semiotic Comparison Between Linguistic and Pictorial Signs - The Sign-Thing Interaction in Howard Nemerov's poem "The Painter Dreaming in the Scholar's House", Paul Klee's "Mountain Flora" and Ehrenzweig's "Unconscious Scanning" - The Seeds of Post-Modernism: Jacques Derrida, Frank Stella, and John Ashbery's "The Painter".

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