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Name - Hina Parmar
Roll No - 10
Sem - 3
Enrollment no - 4069206420220021
Email - hinaparmar612@gmail.com
Subject - From Art to Literature: Exploring Ekphrasis Novels ‘The
Goldfinch’, ‘Girl with a Pearl Earring’, ‘The Picture of Dorian Gray’
Paper no - 210A
Paper code - 22417
Paper - Research Project Writing: Dissertation Writing
Submitted to - Smt. S. B. Gardi Department of English
Maharaja Krishnakumarsinhji Bhavnagar University
Personal Information
Chapters of Dissertation
Chapter 1 : Introduction
Chapter 2 : Literature Review
Chapter 3 : Ekphrasis in ‘The
Goldfinch’ and ‘Girl with a Pearl
Earring’
Chapter 4 : Ekphrasis in Oscar Wilde's
‘The Picture of Dorian Gray’
Chapter 5 : Conclusion
Chapter 1 : Introduction
❖ What is Ekphrasis?
❖ James A. W. Heffernan, Murray Krieger on
Ekphrasis
❖ Classification of different types of Ekphrasis
- Interpretative Ekphrasis
- Psychological Ekphrasis
Three Ekphrasis Novels-
❖ ‘The Goldfinch’ by Donna Tartt
❖ ‘Girl with a Pearl Earring’ by Tracy Chevalier
❖ ‘The Picture of Dorian Gray’ by Oscar Wilde
Chapter 2 : Literature Review
❖ Ekphrasis: Theory
❖ Ekphrasis and the Novel/Narrative Fiction
❖ Ekphrasis in the Age of Digital Reproduction and Media
❖ Ekphrasis in ‘The Goldfinch’ by Donna Tartt
❖ Ekphrasis in ‘Girl With a Pearl Earring’
❖ Decadent Ekphrasis in ‘The Picture of Dorian Gray’
Hypothesis
Donna Tartt's use of "spatial contextual ekphrasis' ' in ‘The Goldfinch’ represents the protagonist's
trauma. Tartt's novel illustrates the significant influence of traumatic experiences, such as the loss of a
parent and exposure to violence, on the protagonist Theodore Decker's personality development, as
observed through the lens of Erikson's psychosocial development theory. Tracy Chevalier's novel ‘Girl
with a Pearl Earring’ functions as an ekphrastic exercise by vividly reconstructing the creation of
Vermeer's painting through detailed descriptions of the artist's studio, materials, and techniques. The
contrast between the pearl earring and the girl's modest attire in Vermeer's painting symbolizes the vast
social divide between the wealthy patrons and the lower-class subjects. Oscar Wilde employs the
literary device of ekphrasis, the verbal representation of a visual artwork, to elevate the painted portrait
of Dorian Gray to a central.
Chapter 3 : Ekphrasis in ‘The Goldfinch’ and ‘Girl
with a Pearl Earring’
❖ Author's Introduction : Donna Tartt
❖ Introduction to Donna Tartt's Novel ‘The Goldfinch’
❖ Ekphrasis is used to represent Theo’s trauma in ‘The Goldfinch’
❖ The Ekphrastic Gaze in 'The Goldfinch' as British Postmodern Fiction
❖ The Infinite Value of Art in ‘The Goldfinch’ by Donna Tartt
❖ Psychological Approach in Personality Development of Theodore
Decker’s Character
❖ Author’s Introduction : Tracy Chevalier
❖ introduction to Tracy Chevalier's Novel ‘Girl with a Pearl Earring’
❖ Ekphrasis in Tracy Chevalier’s ‘Girl with a Pearl Earring’
❖ Representation of Art in ‘Girl with a Pearl Earring’
❖ Social inequality reflected in ‘ Girl with a pearl earrings’
Chapter 4 : Ekphrasis in Oscar Wilde's ‘The Picture of Dorian Gray’
❖ Author's Introduction : Oscar Wilde
❖ introduction to Oscar Wilde’s ‘The picture of Dorian Gray’
❖ Representation of Ekphrasis in Oscar Wilde’s ‘The Picture of Dorian
Gray’
❖ Decadent Ekphrasis and the Tragedy of Aestheticism in Dorian Gray
❖ The Conflict between Aestheticism and Morality in ‘The Picture of
Dorian Gray’
❖ Aestheticism versus Realism
❖ psychology and Amorphous Art in ‘The Picture of Dorian Gray’
Chapter 5 : Conclusion
❖ Ekphrasis, the literary device of vividly describing visual artworks through words, has
proven to be a powerful and versatile technique in prose literature.
❖ In Donna Tartt's 2013 novel ‘The Goldfinch’, ekphrasis is employed to represent the trauma
experienced by the protagonist, Theo, through the application of what scholar Hans Lund
has termed 'spatial contextual ekphrasis' - the relationship between the described artwork
and its immediate physical surroundings.
❖ Tracy Chevalier's novel ‘Girl with a Pearl Earring’ is a prime example of literary ekphrasis,
the vivid description of a visual work of art. The entire novel emerges as an imaginative
backstory and supplement to Vermeer's iconic painting of the same name. While the real-life
inspiration behind the enigmatic pearl-wearing girl is unknown, Chevalier crafts an intricate
fictional narrative fleshing out plausible circumstances and identities.
❖ Ekphrasis is a crucial element in the novel ‘The Picture of Dorian Gary’, as it is devoted to the
story of Basil's portrait of Dorian and delves into themes of art, artistic creation, and
aesthetics. The representation of the painting holds significance not only as a plot device but
also as a symbolic representation of Dorian's exploration of self-identity.
Al-Jabbari, Ekbal H., and Dr. Ala Eddin Sadeq Jrab. “The Portrait as an Alive Character in The Picture of Dorian Gray by Oscar Wilde.” ResearchGate, 2014,
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2014.
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Bugno-Narecka, Dominika. "Ekphrastic Historiographic Metafiction–Enfolding Word, Image and History." Lublin Studies in Modern Languages and Literature 44.2
(2020): 3-13.
Cannon, Alexandra. "Separately, Connectedly: Exploring Trauma Through Ekphrasis in Contemporary Novels." (2022).
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Hartmann, Johanna. "Ekphrasis in the Age of Digital Reproduction." Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele
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From Art to Literature Exploring Ekphrasis Novels ‘The Goldfinch’, ‘Girl with a Pearl Earring’, ‘The Picture of Dorian Gray’

  • 1.
  • 2. Name - Hina Parmar Roll No - 10 Sem - 3 Enrollment no - 4069206420220021 Email - hinaparmar612@gmail.com Subject - From Art to Literature: Exploring Ekphrasis Novels ‘The Goldfinch’, ‘Girl with a Pearl Earring’, ‘The Picture of Dorian Gray’ Paper no - 210A Paper code - 22417 Paper - Research Project Writing: Dissertation Writing Submitted to - Smt. S. B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University Personal Information
  • 3. Chapters of Dissertation Chapter 1 : Introduction Chapter 2 : Literature Review Chapter 3 : Ekphrasis in ‘The Goldfinch’ and ‘Girl with a Pearl Earring’ Chapter 4 : Ekphrasis in Oscar Wilde's ‘The Picture of Dorian Gray’ Chapter 5 : Conclusion
  • 4. Chapter 1 : Introduction ❖ What is Ekphrasis? ❖ James A. W. Heffernan, Murray Krieger on Ekphrasis ❖ Classification of different types of Ekphrasis - Interpretative Ekphrasis - Psychological Ekphrasis Three Ekphrasis Novels- ❖ ‘The Goldfinch’ by Donna Tartt ❖ ‘Girl with a Pearl Earring’ by Tracy Chevalier ❖ ‘The Picture of Dorian Gray’ by Oscar Wilde
  • 5. Chapter 2 : Literature Review ❖ Ekphrasis: Theory ❖ Ekphrasis and the Novel/Narrative Fiction ❖ Ekphrasis in the Age of Digital Reproduction and Media ❖ Ekphrasis in ‘The Goldfinch’ by Donna Tartt ❖ Ekphrasis in ‘Girl With a Pearl Earring’ ❖ Decadent Ekphrasis in ‘The Picture of Dorian Gray’ Hypothesis Donna Tartt's use of "spatial contextual ekphrasis' ' in ‘The Goldfinch’ represents the protagonist's trauma. Tartt's novel illustrates the significant influence of traumatic experiences, such as the loss of a parent and exposure to violence, on the protagonist Theodore Decker's personality development, as observed through the lens of Erikson's psychosocial development theory. Tracy Chevalier's novel ‘Girl with a Pearl Earring’ functions as an ekphrastic exercise by vividly reconstructing the creation of Vermeer's painting through detailed descriptions of the artist's studio, materials, and techniques. The contrast between the pearl earring and the girl's modest attire in Vermeer's painting symbolizes the vast social divide between the wealthy patrons and the lower-class subjects. Oscar Wilde employs the literary device of ekphrasis, the verbal representation of a visual artwork, to elevate the painted portrait of Dorian Gray to a central.
  • 6. Chapter 3 : Ekphrasis in ‘The Goldfinch’ and ‘Girl with a Pearl Earring’ ❖ Author's Introduction : Donna Tartt ❖ Introduction to Donna Tartt's Novel ‘The Goldfinch’ ❖ Ekphrasis is used to represent Theo’s trauma in ‘The Goldfinch’ ❖ The Ekphrastic Gaze in 'The Goldfinch' as British Postmodern Fiction ❖ The Infinite Value of Art in ‘The Goldfinch’ by Donna Tartt ❖ Psychological Approach in Personality Development of Theodore Decker’s Character ❖ Author’s Introduction : Tracy Chevalier ❖ introduction to Tracy Chevalier's Novel ‘Girl with a Pearl Earring’ ❖ Ekphrasis in Tracy Chevalier’s ‘Girl with a Pearl Earring’ ❖ Representation of Art in ‘Girl with a Pearl Earring’ ❖ Social inequality reflected in ‘ Girl with a pearl earrings’
  • 7. Chapter 4 : Ekphrasis in Oscar Wilde's ‘The Picture of Dorian Gray’ ❖ Author's Introduction : Oscar Wilde ❖ introduction to Oscar Wilde’s ‘The picture of Dorian Gray’ ❖ Representation of Ekphrasis in Oscar Wilde’s ‘The Picture of Dorian Gray’ ❖ Decadent Ekphrasis and the Tragedy of Aestheticism in Dorian Gray ❖ The Conflict between Aestheticism and Morality in ‘The Picture of Dorian Gray’ ❖ Aestheticism versus Realism ❖ psychology and Amorphous Art in ‘The Picture of Dorian Gray’
  • 8. Chapter 5 : Conclusion ❖ Ekphrasis, the literary device of vividly describing visual artworks through words, has proven to be a powerful and versatile technique in prose literature. ❖ In Donna Tartt's 2013 novel ‘The Goldfinch’, ekphrasis is employed to represent the trauma experienced by the protagonist, Theo, through the application of what scholar Hans Lund has termed 'spatial contextual ekphrasis' - the relationship between the described artwork and its immediate physical surroundings. ❖ Tracy Chevalier's novel ‘Girl with a Pearl Earring’ is a prime example of literary ekphrasis, the vivid description of a visual work of art. The entire novel emerges as an imaginative backstory and supplement to Vermeer's iconic painting of the same name. While the real-life inspiration behind the enigmatic pearl-wearing girl is unknown, Chevalier crafts an intricate fictional narrative fleshing out plausible circumstances and identities. ❖ Ekphrasis is a crucial element in the novel ‘The Picture of Dorian Gary’, as it is devoted to the story of Basil's portrait of Dorian and delves into themes of art, artistic creation, and aesthetics. The representation of the painting holds significance not only as a plot device but also as a symbolic representation of Dorian's exploration of self-identity.
  • 9. Al-Jabbari, Ekbal H., and Dr. Ala Eddin Sadeq Jrab. “The Portrait as an Alive Character in The Picture of Dorian Gray by Oscar Wilde.” ResearchGate, 2014, https://www.researchgate.net/publication/285383464_The_Portrait_as_an_Alive_Character_in_The_Picture_of_Dorian_Gray#full-text. Accessed - - 2014. Anderson, Laura. “Donna Tartt.” Mississippi Writers and Musicians, 2024, www.mswritersandmusicians.com/mississippi-writers/donna-tartt. Accessed 11 Mar. 2024. Brosch, Renate. "Ekphrasis in recent popular novels: reaffirming the power of art images." Poetics Today, vol. 39, no. 2, 2018, pp. 403-423. Bugno-Narecka, Dominika. "Ekphrastic Historiographic Metafiction–Enfolding Word, Image and History." Lublin Studies in Modern Languages and Literature 44.2 (2020): 3-13. Cannon, Alexandra. "Separately, Connectedly: Exploring Trauma Through Ekphrasis in Contemporary Novels." (2022). Chevalier, Tracy. Girl with a Pearl Earring. HarperCollins, 2006. Cibelli, Deborah H. "" Girl with a Pearl Earring": Painting, Reality, Fiction." Journal of popular culture 37.4 (2004): 583. Duggan, Patrick. "The conflict between aestheticism and morality in Oscar Wilde’s The Picture of Dorian Gray." WR: Journal of the Arts & Sciences Writing Program 1.1 (2008): 2009. De Paiva Vieira, Miriam. "Ekphrasis in Girl With a Pearl Earring." Scripta Uniandrade9.2 (2011): 11-29. Fen, Liu. Ekphrasis Makes Still Artifacts Speak: Taking “If National Treasure Can Talk” as Example, vol. 554, 2021. Bibliography
  • 10. Gracia, L. S. Jerry. “Adherence to Adolescence: A Psycho-analytical View on Donna Tartt’s The Goldfinch.” English: Literature and Social Issues, vol. 17 : 3, no. -, 2017, p. 8. Hartmann, Johanna. "Ekphrasis in the Age of Digital Reproduction." Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, Berlin, München, Boston: De Gruyter, 2015, pp. 113-127. https://doi.org/10.1515/9783110311075-008. Heffernan, James A. W.. "1. Ekphrasis: Theory." Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, Berlin, München, Boston: De Gruyter, 2015, pp. 35-49. https://doi.org/10.1515/9783110311075-003 Horstkotte, Silke. "Ekphrasis as Genre, Ekphrasis as Metaphenomenology." Literary Visualities: Visual Descriptions, Readerly Visualisations, Textual Visibilities (2017): 127-164. James A. W. Heffernan. “Ekphrasis and Representation.” New Literary History, vol. 22, no. 2, 1991, pp. 297–316. JSTOR, https://doi.org/10.2307/469040. Accessed 29 Jan. 2024. Jansson, Mats. "Ekphrasis and digital media." Poetics Today, vol. 39, no. 2, 2018, pp. 299-318. Karastathi, Sylvia. "5. Ekphrasis and the Novel/Narrative Fiction." Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, Berlin, München, Boston: De Gruyter, 2015, pp. 92-112. https://doi.org/10.1515/9783110311075-007 KIRYAMAN, ERKIN. "EKPHRASIS AND THE ILLUSION OF SELF IN OSCAR WILDE'S THE PICTURE OF DORIAN GRAY." Literature and Image in the Long Nineteenth Century: Speaking Picture and Silent Text 32.4 (2023): 85. Latané, David E. "Modes of Emphasis: Simone Martini’s Fresco of the Commander of the Sienese Troops as Seen by Zbigniew Herbert and Gustaw Herling-Grudziński." Przekładaniec, vol. 34-35, 2018, pp. 120-139. doi: 10.4467/16891864ePC.18.015.9837. Liebman, Sheldon W. "Character Design in" The Picture of Dorian Gray"." Studies in the Novel 31.3 (1999): 296-316. LORANG, ELIZABETH. “‘The Picture of Dorian Gray’ in Context: Intertextuality and ‘Lippincott’s Monthly Magazine.’” Victorian Periodicals Review, vol. 43, no. 1, 2010, pp. 19–41. JSTOR, http://www.jstor.org/stable/25732085. Accessed 4 Feb. 2024.
  • 11. Gracia, L. S. Jerry. “Adherence to Adolescence: A Psycho-analytical View on Donna Tartt’s The Goldfinch.” English: Literature and Social Issues, vol. 17 : 3, no. -, 2017, p. 8. Hartmann, Johanna. "Ekphrasis in the Age of Digital Reproduction." Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, Berlin, München, Boston: De Gruyter, 2015, pp. 113-127. https://doi.org/10.1515/9783110311075-008. Heffernan, James A. W.. "1. Ekphrasis: Theory." Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, Berlin, München, Boston: De Gruyter, 2015, pp. 35-49. https://doi.org/10.1515/9783110311075-003 Horstkotte, Silke. "Ekphrasis as Genre, Ekphrasis as Metaphenomenology." Literary Visualities: Visual Descriptions, Readerly Visualisations, Textual Visibilities (2017): 127-164. James A. W. Heffernan. “Ekphrasis and Representation.” New Literary History, vol. 22, no. 2, 1991, pp. 297–316. JSTOR, https://doi.org/10.2307/469040. Accessed 29 Jan. 2024. Jansson, Mats. "Ekphrasis and digital media." Poetics Today, vol. 39, no. 2, 2018, pp. 299-318. Karastathi, Sylvia. "5. Ekphrasis and the Novel/Narrative Fiction." Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, Berlin, München, Boston: De Gruyter, 2015, pp. 92-112. https://doi.org/10.1515/9783110311075-007 KIRYAMAN, ERKIN. "EKPHRASIS AND THE ILLUSION OF SELF IN OSCAR WILDE'S THE PICTURE OF DORIAN GRAY." Literature and Image in the Long Nineteenth Century: Speaking Picture and Silent Text 32.4 (2023): 85. Latané, David E. "Modes of Emphasis: Simone Martini’s Fresco of the Commander of the Sienese Troops as Seen by Zbigniew Herbert and Gustaw Herling- Grudziński." Przekładaniec, vol. 34-35, 2018, pp. 120-139. doi: 10.4467/16891864ePC.18.015.9837. Liebman, Sheldon W. "Character Design in" The Picture of Dorian Gray"." Studies in the Novel 31.3 (1999): 296-316. LORANG, ELIZABETH. “‘The Picture of Dorian Gray’ in Context: Intertextuality and ‘Lippincott’s Monthly Magazine.’” Victorian Periodicals Review, vol. 43, no. 1, 2010, pp. 19–41. JSTOR, http://www.jstor.org/stable/25732085. Accessed 4 Feb. 2024.
  • 12. Seagroatt, Heather. "Hard Science, Soft Psychology, and Amorphous Art in The Picture of Dorian Gray." Studies in English Literature, 1500-1900 38.4 (1998): 741- 759. Semerenko, Lubov I., and Oleksandr O. Pliushchai. “Pictorial as readable: ekphrasis in a literary work and reader's perception – DOAJ.” DOAJ, Alfred Nobel University Publisher, 2022, https://doaj.org/article/174259dc30534966bf5c30afd2bbb8a5. Accessed 24 February 2022. Shamsie, Kamila. “The Goldfinch by Donna Tartt – Review.” The Guardian, Guardian News and Media, 17 Oct. 2013, www.theguardian.com/books/2013/oct/17/goldfinch-donna-tartt-review. Accessed 11 Mar. 2024. Siméus, Jenny. "A Study of Art and Aestheticism in Oscar Wilde’s The Picture of Dorian Gray." (2004). Slodczyk, Rozalia. "Modes of Emphasis: Simone Martini’s Fresco of the Commander of the Sienese Troops as Seen by Zbigniew Herbert and Gustaw Herling- Grudziński." Przekładaniec, vol. 34-35, 2018, pp. 120-139. doi: 10.4467/16891864ePC.18.015.9837. Stern, Simon. "Wilde’s Obscenity Effect: Influence and Immorality in The Picture of Dorian Gray." The Review of English Studies 68.286 (2017): 756-772. Taghizadeh, Ali, and Mojtaba Jeihouni. “Aestheticism versus Realism? Narcissistic Mania of the Unheeded Soul in Oscar Wilde's The Picture of Dorian Gray.” THEORY AND PRACTICE IN LANGUAGE STUDIES, vol. 4, no. -, 2014, p. 7. Tartt, Donna, author. The Goldfinch. New York: Little, Brown and Company, 2013. The Pulitzer Prizes, www.pulitzer.org/winners/donna-tartt. “Tracy Chevalier.” British Council Literature, 1 Jan. 1970, literature.britishcouncil.org/writer/tracy- chevalier#:~:text=Tracy%20Chevalier%20was%20born%20in,the%20University%20of%20East%20Anglia. Accessed 11 Mar. 2024. West, Warner. "Decadent Ekphrasis in The Picture of Dorian Gray." (2022).
  • 13. Wilde, Oscar, 1854-1900. The Picture of Dorian Gray. London ; New York, N.Y. :Penguin, 2003. Zumrotun, Indah. "SOCIAL INEQUALITY REFLECTED IN TRACY CHEVALIER’S GIRL WITH A PEARL EARRING Status Conflict Caused By Broken Stereotype and Expected Role." LANTERN (Journal on English Language, Culture and Literature) 5.4 (2016).