The imaginary as a critical concept originated in the twentieth century and has been theorized in diverse ways. It can be understood as a register of thought; the way we interpret the world; the universe of images, signs, texts, and objects of thought. In this volume, it is explored as it manifests itself in encounters between the verbal and the visual. A number of the essays brought together here explore the transposition of the imaginary in illustrations of texts and verbal renditions of images, as well as in comic books based on paintings or on verbal narratives. Others analyze ways in which books deal with film or television and investigate the imaginary in digital media. Special attention is paid to the imaginary of places and the relationship of the imaginary with memory. Written in English and French, these contributions by European and American scholars demonstrate the various concerns and approaches characteristic of contemporary scholarship in word and image studies.
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| Introduction |
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11 | (18) |
| Summaries |
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18 | (324) |
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Transpositions of the Imaginary in Word and Image: Illustrations |
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(Re-) Imaging the Imaginary of a Children's Story by Virginia Woolf: Nurse Lugton... through the Prism of Three Illustrators |
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29 | (18) |
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Twentieth-Century Illustrations of Baudelaire's "La Mort des amants" |
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47 | (16) |
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L'Illustration abstraite au XXe siecle: un paradoxe lessingien? |
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63 | (16) |
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Transpositions of the Imaginary in Word and Image: Verbalizations |
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L'Ekphrasis dans le roman de Georges Rodenbach Bruges-la-Morte |
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79 | (14) |
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Textes ET Images dans L'Atelier des Apparences |
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93 | (12) |
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The Play of Supports in the Poetics of Christian Dotremont |
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105 | (16) |
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Re-Imag(in)ing Words and Images in the Comic Book |
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La Peinture par la bande: le cas de l'album citationnel Lucky Luke: l'artiste peintre |
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121 | (10) |
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The Representation of the Ineffable: Proust in Images |
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131 | (16) |
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Une melancolie mesuree: de Proust a Heuet |
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147 | (18) |
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La Bande dessinee et ses imaginaires hegemoniques ou phagocytes: le cas de Gemma Bovery de Posy Simmonds |
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165 | (20) |
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The Imaginary and the Screen: Books, Movies, Television |
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Haunted Places: Screening the Imaginary in A Night at the Movies, Or, You Must Remember This by Robert Coover |
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185 | (10) |
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Through the Looking-Glass with Chloe Delaume: The Imaginary of Television Read by the Autofictional Novel |
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195 | (12) |
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To View or Not to View? Jean-Philippe Toussaint's Televisual Imaginary |
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207 | (12) |
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Imaginaries in Digital Media |
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Le Portrait de l'ecrivain: une mythologie perenne? |
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219 | (12) |
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Jan Baetens et Fred Truyen |
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Vers une litterature cyborg: l'hybridation mediatique du texte litteraire |
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231 | (12) |
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Text as Image in the Digital Age: A Formalist Reading of Polyvore Sets |
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243 | (18) |
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Suaires blancs et noirs, imag(inair)es en negatif: quand l'image "revient" comme empreinte et trace |
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261 | (12) |
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Iconoclasme tcxtucl: mettre en mots le monument pour mieux le briser |
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273 | (14) |
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Pour un imaginaire du presentisme: images du temps chez Claudio Parmiggiani et Hannah Arendt |
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287 | (16) |
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On Art History and Meta-Images: Art Reproductions, Site Photographs, and Cezanne's Art |
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303 | (14) |
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La Ville et ses prosopopees fabuleuses |
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317 | (14) |
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Detournement et magnification de l'imaginaire urbain dans les discours sociaux |
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331 | (11) |
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| Contributors |
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342 | (10) |
| Index |
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352 | |
Claus Clüver, an Indiana University professor emeritus of Comparative Literature, has also taught at New York University, the University of California at Berkeley, and in several European and Brazilian universities. His publications include a book in German on 20th-century theatre and over forty essays on the history, theory, and practice of intermedial and interarts studies, especially on Concrete and visual poetry, intersemiotic transposition and ekphrasis, and representation in the arts. He is co-editor of The Pictured Word (1998), Signs of Change: Transformations of Christian Traditions and their Representation in the Arts, 10002000 (2004), Orientations: Space/Time/Image/Word (2005, all Rodopi), and Intermidialidade (UFMG, Brazil, 2006).
Matthijs Engelberts is based at the University of Amsterdam, where his current research is centered primarily on aspects of mediality in modern literature and (other) narrative art media. His publications include books, edited volumes, and articles in French and English on (genre and media- related questions in) surrealist theatre, the contemporary drama text, theatresports, Beckett, Tardieu, Duras, Moličre, Philippe Claudel, and other authors. He is a member of the core editorial board of the bilingual journal Samuel Beckett Today/aujourdhui.
Véronique Plesch, Professor of Art History at Colby College, has published on subjects ranging from Passion iconography to art in the Duchy of Savoy, and from passion plays to early modern graffiti, with forays into contemporary art. She is the author of Illuminating Words: The Artists Books of Christopher Gausby (Smith College Museum of Art, 1999), Le Christ peint: le cycle de la Passion dans les chapelles peintes du XVe sičcle dans les États de Savoie (Société Savoisienne dHistoire et dArchéologie, 2004), Painter and Priest: Giovanni Canavesio and the Passion Cycle at Notre-Dame des Fontaines, La Brigue (U of Notre Dame P, 2006). She also co-edited The Cultural Processes of Appropriation (special issue of the Journal of Medieval and Early Modern Studies, 2002), Orientations: Space/Time/Image/Word (Rodopi, 2005), Elective Affinities: Testing Word and Image Relationships (Rodopi, 2009), Efficacité/Efficacy: How To Do Things With Words and Images? (Rodopi, 2011). She is the current President of the International Association of Word and Image Studies.
