An Ekphrastic Encounter: A Comparative Study of Elizabeth Jennings’ Rembrandt’s Late Self-Portraits and Rembrandt’s Last Self-Portrait” | ||||
| مجلة البحث العلمي في الآداب | ||||
| Article 24, Volume 20, العدد العشرون الجزء الثانى - Serial Number 2, July 2019, Page 619-641 PDF (376.02 K) | ||||
| Document Type: المقالة الأصلية | ||||
| DOI: 10.21608/jssa.2019.40711 | ||||
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| Author | ||||
| Iman Farouk El Bakary* | ||||
| Faculty of Arts Ain Shams University | ||||
| Abstract | ||||
| This paper compares Elizabeth Jennings’ ekphrastic poem entitled Rembrandt’s Late Self-Portraits and Rembrandt’s last self-portrait. It is a close reading of the poem in view of the concept and praxis of ekphrasis, which is generally defined as the rhetorical representation of a work of art. The poet’s choice of self-portraiture is highly significant when one bears in mind Jennings’ and Rembrandt’s respective lives and careers. The decline from vibrant youth to old age, and the fear of death and a waning creative ability: all seem to add to the attraction of the poet towards the painter. The poem is a typical example of that admirable, ekphrastic synthesis in which the boundaries between the two “sister arts” of poetry and painting are crossed. Indeed, both representational modes work together in their quest for self-knowledge and a dignified self-assurance. | ||||
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