Hello Azadeh, I think a vivid piece of ekphrasis can also be seen as a vivid simulacrum, as long as it depicts the dominant features in the original one... And one of the dominant features in the original one could be an absence of something or somebody.... And if that aspect is highlighted, there is what you term a deviation... But this could be seen as something original in the ekphrasis/ simulacrum.... I think... :)

Thank you dear Haris C. Adhikari for your comment. If we create an ekphrastic text describing a picture or an image (does not exist in the real world) our description "may" act like a medium which simultaneously connect and disconnect the audience to the original visual source (as the real object). But I am not sure yet (:

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La ecfrasis es una descripción de una obra en un medio, como la descripción de una estatua en un relato. Diccha descripción, en cierto sentido, busca algo que es muy propio del simulacro, la contemporaneidad del signo y su cosa y su relación con lo real (vaciado). Sí, se podría decir que, en extremo, la ecfrasis es toda "simulacro" por la forma en que funciona...

Hello Azadeh, first of all: could you add some information about what you need it for? I'm asking, because linking two different terms needs a solid ground (tertium comparationis). Second, it seems to me, that as long as the visual source of ekphrasis is traceable, we are not dealing with simulacrum (because the visual source functions as external reality for depiction). Best - P.

Hello dear Przemysław Czapliński Thank you for your comment. Indeed I was thinking about the problem of ekphrasis in Alavi, Bozorg. 1955 Jej oczy (Her Eyes), Polish transl. of Cheshmhayash, J. Bielawski and F. . Here the visual artwork (a painting)as the visual source, is imaginary described by the author from the beginning of its creation. Then I thought that the description of the painting during the story (if it is considered as verbal representation, ekphrasis) can be akin to Baudrillard's simulacra concept. Can not it?

Let's assume you will confirm your hypothesis. What next? The real goal of using such terms is to go further and discover new meaning (that one can not explain without the term). In other words: we do not intend to prove that a term X is justifiable while analysing a literary work, but to explain what consequences it brings.

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Dear Hayet Maache unfortunately I do not know Arabic.

Dear Przemysław Czapliński you are completely right , but I suppose that sometimes it may lead to creating another work (verbal) which may does not preserve any relation with the original source. My personal experience from pages of selling handicrafts' works on Instagram showed my when a photo of an artwork is accompanied with a caption contains a verse by Hafez or blank verse by another poet can attract more audiences (considering the "like"s) and in many case increases purchases . Or when I followed the pairings of my contemporary Iranian artist with considerable stress on visual physical characteristics of human body but his works have heavenly spiritual titles. Then actually here what is the relation between the visual and verbal representations. A dummy relation?Maybe I was wrong in my question. Thank you .