Abstract

Ekphrasis represents the way in which narrative has tried to confront its eternal rival, the visual arts, which instead are based on staticity and spatiality. Every ekphrasis aims to transform what is “co-existent” into “successive” (Lessing), no longer describing the picture but the actions that have led to the artist’s chosen punctum temporis and possibly to what follows it. Dynamisation is therefore one of the main techniques of ekphrastic rhetoric. It is possible to identify at least three modes of dynamisation, which involve the three components of scopic regimes: the dynamisation of pictures, of gazes and dispositives (remediation).