Picturing the Language of Images
Picturing the Language of Images. Eds. Nancy Pedri and Laurence Petit. Cambridge Scholars Publishing. 2013.
Picturing the Language of Images brings together established and emerging scholars from around the world to provide a broad exploration of the complex interaction between the verbal and the visual in a variety of media (such as literature, painting, photography, film, and comics, to name but a few) and across time (from the 18th century to the 21st century). These critics—coming from backgrounds as diverse as literature, art history, book design, and the visual arts—draw on different methodologies and reading practices to inform their applied analysis of the interplay of words and images in multimodal texts and artefacts.
The book is comprised of 34 essays and divided into 9 sections of 3 or 4 articles that examine and challenge the relationships between texts and images from either a historical, cultural, theoretical, or generic perspective. The sections are:
- Verbal and Visual Literacy
- Iconotextuality and the Limits of Representation
- Ekphrastic Strategies
- Graphic and Illustrative Strategies
- Text and Image in Visual Art
- Photography in Fiction
- Poetry and / of the Visual
- The Language of Film
- The Language of Comics
Table of Contents
List of Figures xi
Introduction 1
Part I: Verbal and Visual Literacy
From Intersemiotic to Intermedial Transposition: “Ex-changing Image into Word / Word into Image” 13
LILIAN LOUVEL, Université de Poitiers, France
The Order of Knowing: Discourse on Aesthetics and the Language
of Vision 33
JACOB BODWAY, State University of New York at Buffalo, USA
Ecoutez-Voir, by Elsa Triolet: Situating an “Iconotext” 45
JEAN-PIERRE MONTIER, Université Rennes II, France
Part II: Iconotextuality and the Limits of Representation
“A Story in Geometric Shapes”: The Cross between Text and Image
in “The Kiss” by Angela Carter 63
PASCALE TOLLANCE, Université Lille III, France
Tableaux Vivants or Nature Morte? On Descriptions of Tableaux
in Goethe’s Elective Affinities 73
JOANA KONOVA, University of Illinois at Chicago, USA
The Quest for the “Thing Itself” in A. S. Byatt’s Still Life 87
EMILIE BOURDAROT, Université Paris VII, France
Part III: Ekphrastic Strategies
Walter Scott’s Politics of Ekphrasis in Waverley 101
ANNE-LAURE FORTIN-TOURNÈS, Université Lille II, France
Written on Flesh: Peter Verhelst’s Tonguecat and the Ekphrastic
Tradition 111
KIM GORUS, Vrije Universiteit Brussels, Belgium
“Sound Apples, Fair Flesh, and Sunlight”: A. S. Byatt’s Feminist
Critique of Matisse’s Depictions of Women 119
SARAH GARDAM, DREW UNIVERSITY, USA
“Lots of Little Lies for the Sake of One Big Truth”: Ekphrasis and Memory in John Banville’s The Sea and W. G. Sebald’s The Emigrants 133
SEAN MCGLADE, The Cooper Union for the Advancement of Sciene and Art, USA
Part IV: Graphic and Illustrative Strategies
“As a Kind of Picture-Writing”: Walter Crane, Drawing, and the Creation of a New Symbolic System 147
FRANCESCA TANCINI, Università degli studi di Siena, Italy
“Not Waving”: Miscommunication between Stevie Smith’s Poems
and Drawings 163
KRISTEN MARANGONI, Bob Jones University, USA
Photo-graphic Devices in Jonathan Safran Foer’s Extremely Loud
and Incredibly Close 177
ZOË SADOKIERSKI, The University of Technology, Australia
The Shape of Trauma: Two 9/11 Novels 199
ELIZABETH ROSEN, Lafayette College, USA
Part V: Text and Image in Visual Art
Body, Text, and Image in Tatana Kellner’s Fifty Years of Silence 217
CHRISTA BAIADA, City University of New York, USA
Disrupting the Visual: The Dialogical Relation of Text and Image
in Lorna Simpson’s Photographs 229
CLAUDINE ARMAND, Université Nancy II, France
Parergon, Paratext, and Title in the Context of Visual Art 241
MIKKO PIRINEN, University of Jyväskylä, Finland
The Interartistic Phenomenon in the “Catalonian Garden” 251
VASSILENA KOLAROVA, Inedpendent Scholar
Part VI: Photography in Fiction
Archeology of the Image: Photographic Traces and the Postmodern
Archival Text 273
KAREN JACOBS, University of Colorado at Boulder, USA
No Reality Here: Sensation Novels and Photography 297
ELIZABETH ANDERMAN, University of Colorado at Boulder, USA
Nonnarrative Structure and Photographic Images in W. G. Sebald’s
The Emigrants 313
J’LYN CHAPMAN, University of Denver, USA
Mute Images: The Photography of Melancholy in W. G. Sebald’s
The Rings of Saturn 327
ISABELLE GADOIN, Université de Poitiers, France
Part VII: Poetry and / of the Visual
“A Charming Picture”: Photographic Images of Holocaust Perpetrators 345
AIMEE POZORSKI, Central Connecticut State University, USA
The “Magical Bishop” of Dada: Hugo Ball and “The Inner Alchemy
of the Word” 355
TAHIA THADDEUS KAMP, Yale University, USA
Re-reading Blake’s “London” 367
G. A. ROSSO, Southern Connecticut State University, USA
“Shut from View”: Pre-Raphaelite Painting and the Invisible in Keats’s
Isabella; or, The Pot of Basil 381
FANNY GILLET, Université Toulouse II-Le Mirail, France
Part VIII: The Language of Film
Diegetic Frames and Photo-Cinematographic Seduction: Filming
through Text in Harold Frederic’s Illumination (1896) 395
ROBERT MACHADO, City University of New York, USA
From Remake to Remote: Tex Avery’s Fairy Tales 419
PIERRE FLOQUET, Université de Bordeaux, France
The Fading Art of Video and Loss of Memory: Michael Haneke’s
Caché and Amour 433
KAREN A. RITZENHOFF, Central Connecticut State University, USA
Part IX: The Language of Comics
Rendering the Familiar Unfamiliar: Art Spiegelman’s Maus 455
NANCY PEDRI, Memorial University of Newfoundland, Canada
All About 9/11, All But 9/11: The Shifting Epistemological Paradigm
of Art Spiegelman’s In the Shadow of No Towers 471
MARTÍN URDIALES SHAW, University of Vigo, Spain
FONK! HONK! WHAM! OOF! Representation of Events in Carl Barks –
And in the Aesthetics of Comics in General 483
FREDERIK STJERNFELT AND SVEND ØSTERGAARD, Aarhus University, Denmark
The Silence of Images: Traces and Effacement in the French Graphic
Novel Adaptation of Bohumil Hrabal’s Too Loud a Solitude 509
PASCAL BATAILLARD, Université Lumière-Lyon II, France
Contributors 529
Index 539