The thesis briefly introduces and sheds light on the complex concept of ekphrasis in the past and the present, focusing first on the individual analysis, where the comparison between the artwork and the poem is made, and then on the comparative analysis of the two poems. Not only are both in dialogue with the Renaissance painting by Bruegel the Elder entitled Hunters in the Snow, which allured many poets, but they also refer to it more or less explicitly. Both poems are considered contemporary poetry; the first, entitled Two Pictures, was written by Slovenian writer Brane Senegačnik, while the second, entitled Brueghel's Snow, was written by the Anglo-American writer Anne Stevenson. Although the two poems are completely different regarding the idea and form – on the one hand, Stevenson focuses on the three hunters in the five-stanzas poem, while Senegačnik places the greatest importance on time in his sonnet, which is captured in the artwork and, consequently, also on the second picture – it is possible to draw some parallels between the two poems. One of the most important of these is precisely the phenomenon of the second or unpainted picture respectively, which is also reflected in the theoretical sphere – both texts move from the closed and ajar type towards the end into a conceptual variant of ekphrasis. The general definition of ekphrasis, which is essentially a description of a work of art, is of course not true here since both of the lyrical texts in question are something more than a mere description.
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