Sous la direction de Nancy Pedri et Laurence Petit
Picturing the Language of Images is a collection of thirty-three previously unpublished essays that explore the complex and ever-evolving interaction between the verbal and the visual. The uniqueness of this volume lies in its bringing together scholars from around the world to provide a broad synchronic and diachronic exploration of the relationship between text and image, as well as a reflection on the limits of representation through a re-thinking of the very acts of reading and viewing. While covering a variety of media—such as literature, painting, photography, film and comics—across time—from the 18th century to the 21st century—this collection also provides a special focus on the work of particular authors, such as A. S. Byatt, W. G. Sebald, and Art Spiegelman.
Nancy Pedri is Associate Professor of English at Memorial University of Newfoundland, Canada. Her major fields of research include word-and-image relations in contemporary literature, photography in fiction and comics studies. She has co-edited several volumes on word-and-image studies.
Laurence Petit is Associate Professor of English at Université Paul Valéry-Montpellier 3, France. She has published many articles on the relationship between literature and the visual arts in contemporary British and American fiction. She is co-editor of several volumes on text and image.
Liste des contributeurs :
Elizabeth Anderman, Claudine Armand, Christa Baiada, Pascal Bataillard, Jacob Bodway, Emilie Bourdarot, J’Lyn Chapman, Pierre Floquet, Anne-Laure Fortin-Tournès, Isabelle Gadoin, Sarah C. Gardam, Fanny Gillet, Kim Gorus, Karen Jacobs, Tahia Thaddeus Kamp, Vassilena Kolarova, Joana Konova, Liliane Louvel, Robert Machado, Kristen Marangoni, Sean McGlade, Svend Østergård, Nancy Pedri, Jean-Pierre Montier, Mikko Pirinen, Aimee Pozorski, Karen A. Ritzenhoff, Elizabeth Rosen, G. A. Rosso, Zoë Sadokierski, Frederik Stjernfelt, Francesca Tancini, Pascale Tollance, Martín Urdiales Shaw, Michael Butor.
Table des matières :
Introduction
Picturing the Language of Images
NANCY PEDRI AND LAURENCE PETIT
MEMORIAL UNIVERSITY OF NEWFOUNDLAND, CANADA
UNIVERSITÉ PAUL VALÉRY-MONTPELLIER 3, FRANCE
Part I: Verbal and Visual Literacy
Chapter One
From Intersemiotic to Intermedial Transposition: “Ex-changing Image into Word / Word into Image”
LILIAN LOUVEL
UNIVERSITÉ DE POITIERS, FRANCE
Chapter Two
The Order of Knowing: Discourse on Aesthetics and the Language of Vision
JACOB BODWAY
STATE UNIVERSITY OF NEW YORK AT BUFFALO, USA
Chapter Three
Ecoutez-Voir, by Elsa Triolet: Situating an “Iconotext”
JEAN-PIERRE MONTIER
UNIVERSITÉ RENNES II, FRANCE
Part II: Iconotextuality and the Limits of Representation
Chapter Four
“A Story in Geometric Shapes”: The Cross between Text and Image in “The Kiss” by Angela Carter
PASCALE TOLLANCE
UNIVERSITÉ LILLE III, FRANCE
Chapter Five
Tableaux Vivants or Nature Morte? On Descriptions of Tableaux in Goethe’s Elective Affinities
JOANA KONOVA
UNIVERSITY OF ILLINOIS AT CHICAGO, USA
Chapter Six
The Quest for the “Thing Itself” in A. S. Byatt’s Still Life
EMILIE BOURDAROT
UNIVERSITÉ PARIS VII, FRANCE
Part III: Ekphrastic Strategies
Chapter Seven
Walter Scott’s Politics of Ekphrasis in Waverley
ANNE-LAURE FORTIN-TOURNÈS
UNIVERSITÉ LILLE II, FRANCE
Chapter Eight
Written on Flesh: Peter Verhelst’s Tonguecat and the Ekphrastic Tradition
KIM GORUS
VRIJE UNIVERSITEIT BRUSSEL, BELGIUM
Chapter Nine
“Sound Apples, Fair Flesh, and Sunlight”: A. S. Byatt’s Feminist Critique of Matisse’s Depictions of Women
SARAH GARDAM
DREW UNIVERSITY, USA
Chapter Ten
“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
SEAN MCGLADE
THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART, USA
Part IV: Graphic and Illustrative Strategies
Chapter Eleven
“As a Kind of Picture-Writing”: Walter Crane, Drawing, and the Creation of a New Symbolic System
FRANCESCA TANCINI
UNIVERSITÀ DEGLI STUDI DI SIENA, ITALY
Chapter Twelve
“Not Waving”: Miscommunication between Stevie Smith’s Poems and Drawings
KRISTEN MARANGONI
BOB JONES UNIVERSITY, USA
Chapter Thirteen
Photo-graphic Devices in Jonathan Safran Foer’s Extremely Loud and Incredibly Close
ZOË SADOKIERSKI
THE UNIVERSITY OF TECHNOLOGY, AUSTRALIA
Chapter Fourteen
The Shape of Trauma: Two 9/11 Novels
ELIZABETH ROSEN
LAFAYETTE COLLEGE, USA
Part V: Text and Image in Visual Art
Chapter Fifteen
Body, Text, and Image in Tatana Kellner’s Fifty Years of Silence
CHRISTA BAIADA
CITY UNIVERSITY OF NEW YORK, USA
Chapter Sixteen
Disrupting the Visual: The Dialogical Relation of Text and Image in Lorna Simpson’s Photographs
CLAUDINE ARMAND
UNIVERSITÉ NANCY II, FRANCE
Chapter Seventeen
Parergon, Paratext, and Title in the Context of Visual Art
MIKKO PIRINEN
UNIVERSITY OF JYVÄSKYLÄ, FINLAND
Chapter Eighteen
The Interartistic Phenomenon in the “Catalonian Garden”
VASSILENA KOLAROVA
INDEPENDENT SCHOLAR
Part VI: Photography in Fiction
Chapter Nineteen
Archeology of the Image: Photographic Traces and the Postmodern Archival Text
KAREN JACOBS
UNIVERSITY OF COLORADO AT BOULDER, USA
Chapter Twenty
No Reality Here: Sensation Novels and Photography
ELIZABETH ANDERMAN
UNIVERSITY COLORADO AT BOULDER, USA
Chapter Twenty-One
Nonnarrative Structure and Photographic Images in W. G. Sebald’s The Emigrants
J’LYN CHAPMAN
UNIVERSITY OF DENVER, USA
Chapter Twenty-Two
Mute Images: The Photography of Melancholy in W. G. Sebald’s The Rings of Saturn
ISABELLE GADOIN
UNIVERSITÉ DE POITIERS, FRANCE
Part VII: Poetry and / of the Visual
Chapter Twenty-Three
“A Charming Picture”: Photographic Images of Holocaust Perpetrators
AIMEE POZORSKI
CENTRAL CONNECTICUT STATE UNIVERSITY, USA
Chapter Twenty-Four
The “Magical Bishop” of Dada: Hugo Ball and “The Inner Alchemy of the Word”
TAHIA THADDEUS KAMP
YALE UNIVERSITY, USA
Chapter Twenty-Five
Re-reading Blake’s “London”
G. A. ROSSO
SOUTHERN CONNECTICUT STATE UNIVERSITY, USA
Chapter Twenty-Six
“Shut from View”: Pre-Raphaelite Painting and the Invisible in Keats’s Isabella; or, The Pot of Basil
FANNY GILLET
UNIVERSITÉ TOULOUSE II-LE MIRAIL, FRANCE
Part VIII: The Language of Film
Chapter Twenty-Seven
Diegetic Frames and Photo-Cinematographic Seduction: Filming through Text in Harold Frederic’s Illumination (1896)
ROBERT MACHADO
CITY UNIVERSITY OF NEW YORK, USA
Chapter Twenty-Eight
From Remake to Remote: Tex Avery’s Fairy Tales
PIERRE FLOQUET
UNIVERSITÉ DE BORDEAUX, FRANCE
Chapter Twenty-Nine
The Fading Art of Video and Loss of Memory: Michael Haneke’s Caché and Amour
KAREN A. RITZENHOFF
CENTRAL CONNECTICUT STATE UNIVERSITY, USA
Part IX: The Language of Comics
Chapter Thirty
Rendering the Familiar Unfamiliar: Art Spiegelman’s Maus
NANCY PEDRI
MEMORIAL UNIVERSITY OF NEWFOUNDLAND, CANADA
Chapter Thirty-One
All About 9/11, All But 9/11: The Shifting Epistemological Paradigm of Art Spiegelman’s In the Shadow of No Towers
MARTÍN URDIALES SHAW
UNIVERSITY OF VIGO, SPAIN
Chapter Thirty-Two
FONK! HONK! WHAM! OOF! Representation of Events in Carl Barks – And in the Aesthetics of Comics in General
FREDERIK STJERNFELT AND SVEND ØSTERGAARD
AARHUS UNIVERSITY, DENMARK
Chapter Thirty-Three
The Silence of Images: Traces and Effacement in the French Graphic Novel Adaptation of Bohumil Hrabal’s Too Loud a Solitude
PASCAL BATAILLARD
UNIVERSITÉ LUMIÈRE-LYON II, FRANCE
Éditeur : Cambridge Scholars Publishing
Nombre de pages : 560 p. – Année de Publication : 2013
ISBN : 978-1443854382 – Prix : £ 59.99
Site : http://www.cambridgescholars.com