The Art of the Text
257 pages
English

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257 pages
English
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Description

The Art of the Text contributes to the fast-developing dialogue between textual studies and visual culture studies. It focuses on the processes through which writers think and readers respond visually and, in essays by researchers in literature, screen and visual studies, the volume explores the visuality of the literary and non-literary text, with a sustained focus on French material of the later nineteenth and twentieth centuries. Visuality is appraised here not as a state, but as a set of processes of adaptation, resistance, negotiation, and transformation. By reading visually, the contributors here reactivate the visual-textual relations of canonical texts - from Romanticism to Naturalism, Surrealism to high Modernism; from film to fan literature, television to picture language.

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Publié par
Date de parution 15 septembre 2013
Nombre de lectures 0
EAN13 9780708326602
Langue English
Poids de l'ouvrage 3 Mo

Informations légales : prix de location à la page 0,2042€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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00 Prelims Art of Text_2013_7_20.indd 8 7/20/2013 5:19:05 PMTHE ART OF THE TEXT
00 Prelims Art of Text_2013_7_20.indd 1 7/20/2013 5:19:03 PMStudieS in ViSual Culture
Serie S editor S
Margaret t opping
Queen’s University, Belfast
r achael Langford
Cardif University
Giuliana Pieri
Royal Holloway, University of London
editori AL Bo Ard
Mieke Bal
University of Amsterdam
Paul Cooke
University of Leeds
Anne Freadman
The University of Melbourne
Andrea Noble
University of Durham
María Pilar r odríguez
Universidad de Deusto
 eric thau
University of Hawai’i at Manoa
00 Prelims Art of Text_2013_7_20.indd 2 7/20/2013 5:19:03 PMStudieS in ViSual Culture
THE ART OF THE TEXT:
Visuality in Nineteenth- and
Twentieth-Century Literary and
Other Media
edited by
Susan Harrow
Cardif
University of Wales Press
2013
00 Prelims Art of Text_2013_7_20.indd 3 7/20/2013 5:19:04 PM© The Contributors, 2013
All rights reserved. No part of this book may be reproduced in any material
form (including photocopying or storing it in any medium by electronic
means and whether or not transiently or incidentally to some other use of
this publication) without the written permission of the copyright owner.
Applications for the copyright owner’s written permission to reproduce any
part of this publication should be addressed to the University of Wales Press,
10 Columbus Walk, Brigantine Place, Cardif CF10 4UP.
www.uwp.co.uk
British Library CIP Data
A catalogue record for this book is available from the British Library
ISBN 978-0-7083-2659-6
e-ISBN 978-0-7083-2660-2
The rights of the Contributors to be identifed as authors of this work have
been asserted in accordance with sections 77 and 79 of the Copyright, Designs
and Patents Act 1988.
Typeset in Wales by Eira Fenn Gaunt, Cardif
Printed by CPI Antony Rowe, Chippenham, Wiltshire
00 Prelims Art of Text_2013_7_20.indd 4 7/20/2013 5:19:04 PMContents
Series editors’ preface vii
Acknowledgements ix
List of illustrationsxi
Contributorsxiii
Introduction1
Susan Harrow
I
Thinking the visual image
1 Jules Verne: The Unbearable Brightness of Seeing 17
Timothy Unwin
2 Afnities of Photography and Syntax in Proust’s À la recherche
du temps perdu 31
Áine Larkin
3 Portraits and Neologisms: Understanding the Visual in
Henri Michaux’s ‘Voyage en Grande Garabagne’ 47
Nina Parish
4 The ‘trou noir’: Visualizations of Nihilism in Nietzsche
and Modiano 63
Jenny Devine
II
Intermedial migrations in the 1920s
5 Painting and Cinema in Aragon’s Anicet 81
Katherine Shingler
00 Prelims Art of Text_2013_7_20.indd 5 7/20/2013 5:19:04 PMContents
6 Isotypes and Elephants: Picture-Language as Visual Writing in the
Work and Correspondence of Otto Neurath 95
Michelle Henning
7 Colette: An Eye for Textiles 115
Anne Freadman
8 Stars as Sculpture in the 1920s Fan-Magazine Interview 131
Michael Williams
III
Visual negotiations and adaptations
9 Victor Hugo and Painting: The Exceptional Case of the
Orientales 151
Karen Quandt
10 Visions and Re-visions: Zola, Cardinal and L’Œuvre 171
Kate Grifths
11 Donner à voir: Poetic Language and Visual Representation
according to Paul Éluard 187
Peter Hawkins
12 ‘La lettre au cinéma n’est pas une excellente solution’:
A Heteromedial Analysis of Chantal Akerman’s Proust
Adaptation 201
Jørgen Bruhn
Translation sources 217
Bibliography 221
Index233
vi
00 Prelims Art of Text_2013_7_20.indd 6 7/20/2013 5:19:05 PMSeries editors’ preface
Studies in Visual Culture provides a forum for ground-breaking enquiry into
visual-cultural production in its social, historical and cultural contexts. The
series places particular emphasis on the exchanges, transactions and
displacements that link Europe to wider global contexts across the visual-cultural
feld. The series seeks to promote critical engagement with visual media as
ideological and cultural as well as aesthetic constructs, and foregrounds the
relationship of visual cultures to other felds and discourses, including cultural
history, literary production and criticism, philosophy, gender and sexuality
research, journalism and media studies, migration and mobility studies, social
sciences, and politics. The Studies in Visual Culture series thus focuses on
exploring synergies and key debates between disciplines, concepts and
theoretical approaches, and ofers an exciting new arena for testing and
extending disciplinary, theoretical and conceptual boundaries.
00 Prelims Art of Text_2013_7_20.indd 7 7/20/2013 5:19:05 PM00 Prelims Art of Text_2013_7_20.indd 8 7/20/2013 5:19:05 PMAcknowledgements
Many people, not least the twelve contributing authors, have worked with
insight, energy, and commitment on the project that has become The Art of
the Text. I am deeply grateful to Jean Dufy for her precious support and
encouragement. I thank all the team at the University of Wales Press, especially
Sarah Lewis.
00 Prelims Art of Text_2013_7_20.indd 9 7/20/2013 5:19:05 PM00 Prelims Art of Text_2013_7_20.indd 10 7/20/2013 5:19:05 PMIllustrations
Figure 6.1 Simple example of an Isotype chart. From Otto Neurath,
International Picture Language: The First Rules of Isotype,
Psyche Miniatures (London: Kegan Paul, 1936) 96
Figure 6.2 Illustrations demonstrating how Isotype symbols combine
to produce specifc meanings. From Otto Neurath,
International Picture Language: The First Rules of Isotype,
Psyche Miniatures (London: Kegan Paul, 1936) 98
Figure 6.3 Example of Neur ath’s signature. The cat represents Marie
Neurath. From a carbon-copy of a letter to Helen Coppen,
Otto and Marie Neurath Isotype Collection, Department
of Typography & Graphic Communication, University of
Reading, Isotype 1/10–11 102
Figure 6.4 Letter from Otto Neurath to Lancelot Hogben, Otto
and Marie Neurath Isotype Collection, Department of
Typography & Graphic Communication, University of
Reading, Isotype 1/35-37 106
Figure 9.1 Louis Boulanger, Le Supplice de Mazeppa, Salon of 1827,
Rouen, Musée des Beaux-Arts. RMN-Grand Palais/Agence
Bulloz 163
00 Prelims Art of Text_2013_7_20.indd 11 7/20/2013 5:19:05 PM00 Prelims Art of Text_2013_7_20.indd 12 7/20/2013 5:19:05 PMContributors
Jørgen Bruhn is Assistant Professor at Linnaeus University, Sweden. He has
written monographs on Marcel Proust (with Bo Degn Rasmussen) and on
M. M. Bakhtin. In addition, he has published articles on the theory of the
novel and intermediality as well as on medieval literature and culture,
Cervantes and Cassirer. His study entitled ‘Heteromediality’ appeared in Lars
Elleström (ed.), Media Borders, Intermediality and Multimodality (Palgrave
MacMillan, 2010) and he has also recently produced a book-length study
entitled Lovely Violence: The Critical Romances of Chrétien de Troyes (Cambridge
Scholars Publishing, 2010). With Anne Gjelsvik and Henriette Thune he has
published ‘Parallel Worlds to Possible Meanings in ‘“Let the Right One In”’ in
Word & Image (2011). Jørgen Bruhn is currently writing on intermedial theory
and adaptation.
Jenny Devine completed her doctoral studies at Royal Holloway, University
of London. She is a former pupil of the Ecole Normale Supérieure, Paris, where
she received the Certifcat d’étudiante étrangère. Her academic specialisms
are modern and contemporary French literature and visual arts, as well as
Nietzschean philosophy. She has been involved in a variety of contemporary
art projects in London, and has worked at the South London Gallery and at
Elastic Residence, where she was Writer in Residence.
Anne Freadman is A. R. Chisholm Professor of French at the University of
Melbourne, Australia. She has published widely in semiotics, including a
book on Charles Peirce, The Machinery of Talk (Stanford University Press,
2004). She has also written on genre theory and on French women’s writing.
Anne Freadman is the author of several articles on Colette’s journalism. Her
study on Colette’s memory books appeared in 2012 with Legenda.
00 Prelims Art of Text_2013_7_20.indd 13 7/20/2013 5:19:05 PMContributors
Kate Grifths is a Lecturer in French at Cardif University. She is the author
of an AHRC supported monograph, Emile Zola and the Artistry of Adaptation
(Legenda, 2009), and of articles on nineteenth-century French literature,
adaptation across diferent media and French flm. With David Evans, she is
co-editor of two volumes: Pleasure and Pain in Nineteenth-Century France
(Rodopi, 2008) and Haunting Presences: Ghosts in French Literature and Culture
(University of Wales Press, 2009). She is a member of the executive committees
of the Society for French Studies and the Society of Dix-Neuviémistes. Her
current projects include monographs on cross-media representations of
nineteenth-century France and on Zola and television.
Susan Harrow is Ashley Watkins Professor of French at the University of
Bristol. Her research interests lie in modern poetry and narrative with a
particular focus on the interrelation of literary modernism and visual culture.
She is the author of The Material, the Real and the Fractured Self (Toronto
University Press, 2004), of Zola, The Body Modern: Pressures and Prospects of
Representation (Legenda, 2010) and of a short study of Zola’s L’Assommoir
(1998). She co-edited with Tim Unwin, Joie de vivre in French Literature and
Culture (Rodopi, 2009), and with Andrew Watts, Mapping Memory in
NineteenthCentury French Literature and Culture (Rodopi, 2012). She served as joint editor
of Romance Studies (1999–2008). She has served as president of the Society
of Dix-Neuviémistes (2008–10) and as president of the Society for French
Studies (2010–12).
Peter Hawkins is, since 2008, Senior Research Fellow in French in the School
of Modern Languages at the University of Bristol. During his long academic
career he taught degree-level courses on surrealist poetry and introduced
the poetry and aesthetics of Pau

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