Picturing the Language of Images
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Picturing The Language of Images is a collection of thirty-three previously unpublished essays that explore the complex and ever-evolving interaction between the verbal and the visual.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.
is a supplement, an “invention”. The “pictorial third” is a relation (we remember Foucault); it is a dynamic activity, that of a picturing reading or of a read picture. The pictorial impetus triggers the pictorial third which finds its locus in the iconotext, in-between text and image, when it arises in the reader’s mind on his inner screen. This is a process already acknowledged by Catherine Perret, once more apropos La Meninas: [I]f there is a ‘vision’, [the spectator] is neither its owner nor
‘collection blanche’ edition from Gallimard, NRF, October 1968, a work which to our knowledge has not been reissued, except in Œuvres romanesques croisées (ORC) by Aragon and Triolet, published by Robert Laffont, 1974, volume 36. 2 46 Chapter Three Ciccione, less well-known photographers who also worked for Rapho—as well as drawings or paintings. We also find sculptures, theatre sets, a model, architectural elements, fragments of objects, and landscapes. Reproduced in black and white, these
know of the world is this city, beautiful as an illusion, where irises grow in gutters. (245-246) But as the gaze lands on an old woman selling lilies on the market, this simple opposition is disturbed. The old woman is imagined to belong to a place in the mountains where she will withdraw far away from the tourist’s gaze. The woman who is about to vanish from sight announces the queen who disappears once she has tasted the fire of the invisible. Just in case the reader might feel that the fable
tense, almost transcendent 2 Gombrich examines the effect of the myth on the artist’s romance with the image in the “Pygmalion’s Power” chapter of Art and Illusion. 3 The nature of these lives, and the extent to which Jewish heritage plays a part, is examined by Jacobs. “Lots of Little Lies for the Sake of One Big Truth” 135 reflections of experience, generating the most vivid and therefore the most unusual and significant consciousness events of the mind” (192). Aside from presenting the
was entering by the window, and the easel still stood in the middle of the room on the black, encrusted floor, a black piece of card on it, overworked to the point of being unrecognizable. To judge by the picture clipped to a second easel, the model that had served Ferber for this exercise in destruction was a Courbet that I had always been especially fond of, “The Oak of Vercingetorix”. (179-180) The image of the tree in the text appears to be a black and white photograph of Courbet’s painting,