Ekphrasis in W. G. Sebald's poetry

Criticism and fictional work W. G. Sebalds' are guided by the relentless pursuit of appropriate language to address to the persecution of jews and to violence in general in National Socialism. His poetry does not seem to be different. This approach about Sebalds poetry begins with the poem Nach der Natur (Ao natural) in order to analyze the pregnant visual representations of suffering religious' figures. Question is in line with the common caution concerning language in this set of fictional and criticism work, how the syntax between the characters / personalities mentioned and interleaved images are also research in order to reach an appropriate tone to report the History. Looking for answers to these initial questions, the approach analyses the poetic ekphrasis present in this poem full of allusions to plastic works that come accompanied by their descriptions. By way of illustration refers this article to the first part of the poem about the religious figures made by Matthias Grunewald artist of between renaissance and baroque expression, which became known by the approaches of human suffering. On the other hand, the reflections of Sebald on Jan Peter Tripps' hyperrealist painting and also on the differentiated way Jean Amery inseres fractures in his texts that deal with torture in order to avoid acedia and encourage more conscious reading in the procedure poetic, explain Sebalds long poem Ao natural. Especially justified this analogy the fracture emerging from the third part of the poem, a ekphrasis concerning the Altdorfer painting.