The aim of the monograph is to redefine the notion of ekphrasis (including musical ekphrasis) to meet the literature challenges of the late 20th – early 21st centuries. The author argues that the true nature of ekphrasis is not limited to a mere desrcription and develops a non-mimetic concept of it. Applying the theory of intersemiotic translation, introduced by Y. Lotman and developed by C. Barbetti and S. Bruhn, the author receives an opportunity to outline the main difference between ekphrasis and several similar notions (musical themes, eidolon, hypotyposis, mimesis and diegesis). The difference lies in the presence of a special message that becomes explicit when it passes from the sensual plane to verbal. Description, allusion, or metaphor found in a text do not exclude the presence of an ekphrasis there but may form a part its structure. The author cites C. Baretti (“ekphrasis is a verb, not a noun”) and insists on the accurate translation of the word ἐκφράζω (ekpraso – expres...
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