University of Pennsylvania, Philadelphia, PA, 23-27 September 2005

FRIDAY 23 SEPTEMBER

Early Correspondences / Sacred Words, Sacred Images

• 9.00 – 10.30 OPENING PLENARY SESSION
  • Peter Stallybrass (University of Pennsylvania) “Material Images: Recycling Woodcuts and the Printing of Books”
• 11.00 – 12.30 SESSIONS 1-3
  • 1 The Image of the Text in Medieval Art (I) (Chair: Robert Maxwell)
    • Charles S. Buchanan (Ohio University) “Diagrammatic Figuration and Clerical Reform in a Book of Decrees by Burchard of Worms (Lucca: Biblioteca Capitolare, MS. 124)”
    • Leah Rutchick (Duke University) “Images into Inscriptions: Word Working at Moissac”
    • Kathrin Müller (Max-Planck-Institute for the History of Science, Berlin, Germany) “The Diagram and the Letter. The Blurring of the Visual and the Textual in Medieval Copies of Calcidius’ commentary on the Timaeus”
  • 2 Medieval Book Production and the Sacred Subject (Chair: Emily Steiner)
    • Jessica Brantley (Yale University) “Roger of Waltham Imagines Himself”
    • E. Ann Matter (University of Pennsylvania) “Word and Image in Medieval Christian Bibles”
    • Anja Grebe (Germanisches Nationalmuseum, Nürnberg) “Double Affinity: The Prayer-Book of Emperor Maximilian I between Manuscript and Printed Book”
  • 3 Reformation Iconology and Spectacle (Chair: Robert Hornback)
    • Robert Hornback (Oglethorpe University) “Cambridge Misrule and Edwardian Iconoclasm: Reading Gammer Gurton’s Needle’s ‘Excrementall Conceits'”
    • Jeanne McCarthy (Oglethorpe University) The Chapel Stage in Early Elizabethan Court Drama: Sacred Icons, Secular Appropriations, and Iconoclasm in the Cambridge Visit”
    • Mary Silcox (McMaster University) “Popish Ceremony vs Reformation Clarity: Bateman’s A Christall Glasse”
• 14.00 – 15.30 SESSIONS 4-6
  • 4 The Image of the Text in Medieval Art (II) (Chair: Robert Maxwell)
    • Barbara Baert (Université catholique de Louvain) “‘Noli me Tangere’ or Touching with the Eye”
    • Lynn Ransom (Free Library of Philadelphia) “‘Describe igitur in spiritu mentis’: Word/Image Transformations in St. Bonaventure’s Lignum vitae”
    • Cathleen Fleck (Washington University in St. Louis) “Word and Image at Santa Maria Donnaregina in Fourteenth-Century Naples”
  • 5 The Modern Jewish Book (Chair: Liliane Weissberg)
    • Noah Isenberg (The New School) “Romancing the Shtetl: On the Rhetorical and Visual Flourishes of The Face of East European Jewry (1920)”
    • Laurence Roth (Susquehanna University) “Drawing Contracts: Will Eisner’s American Jewish Graphic Novels”
    • Judith Hoffberg (Independent Scholar) “Women of the Book: Jewish Artist, Jewish Themes”
  • 6 Empty Words, Empty Images in Buddhism (Chair: Linda Chance)
    • Amanda Guyton (Germanna Community College and The University of Mary Washington) “In the Buddha’s Presence: Inscriptions and Images at the Stupa of Bharhut”
    • Hank Glassman (Haverford College) “Iconological Approaches to the Cult of the Bodhisattva Jizô in Medieval Japan”
    • Nicole Fabricand-Person (Lafayette College) “The Art of Redemption and the Redemption of Art: Absolving the Sin of Poetry in Early Medieval Japan”
• 16.00 – 17.30 SESSIONS 7-9
  • 7 Images of Harmony in Early Modern Europe (Chair: Michael Cole)
    • Domenico Laurenza (Istituto e Museo di Storia della Scienza, Firenze) “Visual Harmony in Art and Science: Leonardo and the Renaissance”
    • Laurence Wuidar (Université Libre de Bruxelles) “The Notion of Harmony in the Renaissance and Baroque Emblematic and Musical Literature”
    • Claudia Swan (Northwestern University) “Unstable Harmony: Johannes Torrensius’s 1614 Still Life with a Bridle”
  • 8 Graphic Sign, Symbol and Image: Seeing and Reading in Islamic Visual Culture (Chair: Renata Holod)
    • David Roxburgh (Harvard University) “The Visual Language of Science: From al-Sufi’s Fixed Stars to al-Jazari’s Automata”
    • Cynthia Robinson (Cornell University) “Poetry and the Poetics of Ornament in Granada’s Alhambra”
    • Christiane Gruber (University of Indiana at Bloomington) “The Ilkhanid Mi’rajnama (Book of the Prophet Muhammad’s Ascension) of ca. 1317-35 as an Illustrated Prayer Book”
  • 9 Presenting the Visual: Repraesentatio, Ekphrasis, Descriptio, Hyponoia in Ancient and Medieval Literature and Theory (Chair: Peter Struck)
    • Susanna McFadden (University of Pennsylvania) “Picturing the Ancient Ceremony of Adventus in Late Antique Egypt: Diocletian’s Visual Panegyric”
    • Ann Kuttner (University of Pennsylvania) “Open Me, Read Me! The Late Antique Ivory Notebook Covers’ Prescriptive Images”
    • Peter Struck (University of Pennsylvania) “Talking Statues in Late Antiquity”

SATURDAY 24 SEPTEMBER

Spaces, Places

• 9.00 – 10.30 PLENARY SESSION
  • Yve-Alain Bois (Institute for Advanced Study, Princeton University) “Even Blindfolded, We Can ‘See’ What We Draw”
• 11.00 – 12.30 SESSIONS 10-12
  • 10 Museum – Object – Text (I) (Chair: Lauren Weingarden)
    • Nicola Müllerschön (Universität Hamburg) “Experience of Space and Space of Experience – Museum as ‘Test Arrangement'”
    • Sara Pappas (University of Richmond) “A Matter of Taste? Problems in Exhibiting 19th-Century French Art”
    • Emily Hage (Philadelphia Museum of Art) Exhibiting Ephemera: Art Museums and the Hybrid Nature of Dada Art Journals”
  • 11 Ornamental Texts and/or Modernism (Chair: Debra Schafter)
    • Julia Friedman (Syracuse University) “Flourish as the Hook: From Ornamental Texts to Non-Ornamental Drawing”
    • Debra Schafter (San Antonio College) “Signs, Symbols and Signifiers: Linguistic Perceptions of Ornament in Late Nineteenth-Century Stylistic Theory”
    • Spyros Papapetros (Princeton University) “Warburg as a Reader of Semper: Reflections on the ‘Peripheral Nature’ of Ornament”
  • 12 Cultural Traveling (I) (Chair: John Dixon Hunt)
    • Michael Garval (North Carolina State University) “Colonial Encounters in the French Illustrated Menu, 1870-1940”
    • Christopher Bush (Princeton University) “On Not Knowing Japanese: The Hermeneutics of Japonisme”
    • Bettina Brandt (Montclair State University) “Strange Mobile Images”
• 14.00 – 15.30 SESSIONS 13-15
  • 13 Duchamp: Master of Word and Image Disruption (Chair: Lauren Weingarden)
    • Michael Taylor (Philadelphia Museum of Art) “Opening the Doors of Etant donnés”
    • Leah Sweet (New York University) “Erotic Disruption in Joseph Beuys’s ‘The Silence of Marcel Duchamp is Overrated'”
    • Steven Gerrard (Williams College) “The Prime Word ‘Trébuchet'”
  • 14 Imagining Libraries (Chair: Michael Ryan)
    • Benjamin Harvey (Mississippi State University) “Cartwheels, Domes & Drawings: Word and Image in Woolf’s ‘Reading Room'”
    • Fernando Pereira (University of Pennsylvania) “Networked Words”
  • 15 Cultural Traveling (II) (Chair: Sanjay Krishnan)
    • Sukanya Kulkarni (University of Toronto) “Imperial Sahib or Zeitungskuli: Hanns Heinz Ewers in ‘Indien und ich …’ (1911)”
    • Shameem Black (Yale University) “Traveling by Eye : The Geography of Amitav Ghosh”
• 16.00 – 17.30 SESSIONS 16-18
  • 16 Museum – Object – Text (II) (Chair: Lauren Weingarden)
    • Peter McIsaac (Duke University) “Narrative as a Corrective to the Museum: Siegfried Lenz’ ‘Heimatmuseum'”
    • Avi Kempinski (University of Michigan) “The Wall as Museum: Delineating Identity at Sites of Barbarity in W.G. Sebald’s ‘Austerlitz'”
    • Regine Rapp (Humboldt University, Berlin) “Reading the Museum – The Subversive Strategies of Ilya Kabakov’s ‘Total Installations'”
  • 17 Reading and Writing the Site (Chair: John Dixon Hunt, David Leatherbarrow)
    • Clare Goldstein (Miami University, Ohio) “Sublime Spaces. Longinus and Boileau in the Gardens of Louis XIV
    • Daniel Purdy (Pennsylvania State University) “‘Is that all there is?’ Architectural Drawing and the Disappointing Site, Goethe and Palladio”
    • André Rogger (Universität Basel) “‘To check the progress of the eye’: A Close Reading of a Few Landscape Sketches in Humphry Repton’s ‘Red Books’ (1789-1814)”
  • 18 Word and Image in the Modern Public Monument (Chair: Christine Poggi)
    • Matthew Witkovsky (National Gallery of Art) “Blind Eyes and Empty Names: Touring the Monument to National Liberation in Prague”
    • Maria Elena Versari (Scuola Normale Superiore, Italy) “Living Among the Duce’s Words: The Visual Materialization of Fascist Rhetoric in the Italian Public Monument of the 1930s”
    • Tung-Hui Hu (University of California, Berkeley) “Time and The Writing of ‘Berlin Alexanderplatz'”

SUNDAY 25 SEPTEMBER

• EXCURSIONS

MONDAY 26 SEPTEMBER

Political Inscriptions / Scientific Imaging

• 9.00 – 10.30 SESSIONS 19-21
  • 19 Visualizing the Past (Chair: Maurice Samuels)
    • Kevin M.F. Platt (University of Pennsylvania) “Ivan the Terrible, Popular Entertainment and Mass Mobilization in Early Soviet Russia”
    • Arden Reed (Pomona College) “Tableaux Vivants from Goethe to Laguna Beach”
    • Rachel Hall (Syracuse University) “Tracking Instrumental Realism: Word and Image in the Wanted Poster”
  • 20 Unequal Partners: When Photographs Vie with Words in Journalism (Chair: Barbie Zelizer)
    • Danielle Leenaerts (Université libre de Bruxelles) “Le magazine français ‘Vu’ (1928-1940). Naissance de l’information visuelle et utopie de la substitution de l’image photographique au texte écrit”
    • Jeff Allred (Hunter College) “Boring from Within: Luce, ‘Life’ and the Avant-Garde (1941)”
    • Barbie Zelizer (University of Pennsylvania) “When Images of Impending Death Make Sense in the News”
  • 21 The New Prohibitions Against the Image: A Semiotic and Mediological Question (Chair: Nathalie Roelens)
    • Nathalie Roelens (Universités d’Anvers et de Nimègue) “L’image absolutiste comme censure inavouée”
    • Ralph Dekoninck (Université catholique de Louvain) “Parole d’images: La critique de l’image ventriloque dans l’iconophobie moderne”
    • Eric Robertson (University of London) “Dada disgusting? Hans Jean Arp”
• 11.00 – 12.30 SESSIONS 22-24
  • 22 Image, Text, History (Chair: Michèle Hannoosh, Véronique Plesch)
    • Robert Maxwell (University of Pennsylvania) “Picturing Dreams, Writing History in Twelfth-Century Chronicles”
    • Hubert Locher (Staatliche Akademie der Bildenden Künste, Stuttgart) “From Ekphrasis to History. Verbal Transformations of the Display of Picture Galleries by Wilhelm Heinse and Friedrich Schlegel”
    • Lou Rose (Otterbein College) “Psychology, Art, and Antifascism: Ernst Kris, E.H. Gombrich, and the Caricature Project”
  • 23 Reading Religious Imagery in Nineteenth-Century Europe (I) (Chair: Cordula Grewe)
    • David Morgan (Valparaiso University) “The Iconicity of Print: Word and Image in Evangelical Illustrated Publications, 1795 to 1845”
    • Peter Brandes (Universität Hamburg) “The Theology of the Image in German Literature around 1800”
    • Margaret MacNamidhe “The Suffering of Angels: Delacroix’s ‘Christ in the Garden of Olives’ (1827)”
  • 24 Medical Case Studies (Chair: Anjan Chatterjee)
    • Jonathan Marshall (Edith Cowan University, Australia) “Word, Image and Performance in the Work of Dr. Jean-Martin Charcot, 1872-1893”
    • Kent Bream (University of Pennsylvania) “Grand Rounds: Medical Case Studies”
    • Susan Levine (Institute of the Psychoanalytic Center of Philadelphia) “In the Mind’s Eye, or You Can’t spell ‘Psychoanalysis’ Without C-H-A-O-S”
• 14.00 – 15.30 SESSIONS 25-27
  • 25 Cultural Translation Between Europe and Latin America – Borders and Exchange (Chair: Jens Baumgarten)
    • Claudia Mattos (Campinas State University, Sao Paulo) “Word and Image in the Brazilian Academy: Negotiations Between Discourse and Practice in 19th-Century Academic Art in Brazil”
    • Jens Baumgarten (Universität Basel and Campinas State University, Sao Paulo) “Between Word and Image, Internal and External: Negotiating Visual Representation in Europe and Brazil in Early Modern Times”
  • 26 National History: Text, Image, Rhetoric (I) (Chair: Kevin M.F. Platt)
    • Christoper Schnader (University of Pennsylvania) “Hitlergruß / Deutscher Gruß: National Socialist Visions of Greeting”
    • Lauren Weingarden (Florida State University) “Modernizing History and Historicizing Modernity: Baudelaire and Baudelairean Representations of Contemporaneity”
    • Cristina Cuevas-Wolf (Independent Scholar) “John Heartfield’s Insects and the ‘Idea’ of Natural History”
  • 27 Explaining the Universe (Chair: Eileen Reeves)
    • Eileen Reeves (Princeton University) “Camera Work: Descartes, Huygens, and the Dark Room”
    • Stefan Ditzen (Hochschule für Gestaltung, Karlsruhe and Humboldt Universität, Berlin) “Beauty and Shiver in View of Monsters and Devils. Affect as Mediator between Text and Picture in Microscopy”
    • Susana Oliveira (Lisbon Technical University) “Light Ghosts: Light and Perception of a Private World”
• 16.00 – 17.30 SESSIONS 28-30 AND WORKSHOP
  • 28 National History: Text, Image, Rhetoric (II) (Chair: Kevin M.F. Platt)
    • Karen Brown (Queen’s University, Belfast) “The ‘Inscapes’ of Louis Le Brocquy”
    • Matthew Hart (University of Illinois, Urbana-Champaign) “The Cartographic Uncanny: Layla Curtis and British National History”
    • Robert Grant (School of Advanced Studies, London) “‘American Scenery’/’Canadian Scenery’: The Representation of Native American/First Nation Peoples in Mid Nineteenth-century Britain”
  • 29 Reading Religious Imagery in Nineteenth-Century Europe (II) (Chair: Margaret MacNamidhe)
    • Victoria Coates (University of Pennsylvania) “Nineteenth Century Readings of Raphael’s Transfiguration”
    • Cordula Grewe (Columbia University) “Shulamith and Maria: Biblical Hermeneutics, Pictorial Exegesis and the Rebirth of Typology”
    • Michael Thimann (Freie Universität, Berlin) “‘Wahrheit’ (Truth): Metaphorics of Aesthetics and Religion in Nazarene Art”
  • 30 Words on Screen: Hierarchies of Text and Picture in Cyberculture (Chair: Nathan Ensmenger, Nick Montfort)
    • Nathan Ensmenger (University of Pennsylvania) “Wizards, Hackers, and Poets: The Power of Computer Codes and Other Incantations”
    • Zach Whalen (University of Florida) “Reading as Cryptography: The Role of Encoding/Decoding in Digital and Print Culture”
    • Nick Montfort (University of Pennsylvania) “How Stella Got Her Text Back: Trajectories of Word and Image in Creative Computing”
  • Workshop on Teaching: Word & Image Studies 101 – Syllabus, Methods, Resources (Chair: Véronique Plesch)
    • Discussion on the objectives of such a course, different target audiences, methods of developing reading skills for verbal and visual texts, kinds of word-image relations to be covered, comparative methods, textbooks and other resources; no formal presentations

TUESDAY 27 SEPTEMBER

Arts of the Book / Photographic Texts

• 9.00 – 10.30 SESSIONS 31-34
  • 31 Artists’ Words (I) (Chair: Michèle Hannoosh, Véronique Plesch)
    • K. Porter Aichele (University of North Carolina, Greensboro) “Correspondence Art History, or Writing the End of Paul Klee’s ‘Beginning of a Poem'”
    • Richard Hobbs (University of Bristol) “The Master’s Voice? Auguste Rodin’s ‘L’Art’ in Context”
    • Adriana Dragomir (University of Toronto) “Frida Kahlo’s Visual Autobiography: A Word and Image Perspective”
  • 32 Artists and the Art World in Fiction (I) (Chair: Charlotte Schoell-Glass, Martin Heusser)
    • Jennifer Greenhill (Yale University) “Illustrating the Shadow of Doubt: Henry James, Blindness, and ‘The Real Thing'”
    • Susan Waller (University of Missouri, Saint Louis) “Problematic Poseurs: Prelude to an Analysis of Philippe Burty’s ‘Grave Imprudence'”
    • Juliette Wells (Manhattanville College) “The Artist, the Amateur, and the Accomplished Woman”
  • 33 V-V-V on-line: Verbal-Visual-Vocal Poetries in Hyperspace (I) (Chair: Charles Bernstein)
    • Johanna Drucker (University of Virginia) “Graphic Affect: Looks, Is, and Does”
    • Steve Clay (Granary Books) “Resistance to the Web: The Art of the Book in the Age of Digital Reproduction”
    • Kari Kraus (University of Rochester) “Vectors on a Grecian Urn”
  • 34 Cinema and Photography: Time, Space, Theory (I) (Chair: Karen Beckman)
    • Louis Kaplan (University of Toronto) “Aleph: Wallace Berman Between Photography and Film”
    • Andrew Uroskie (Georgia Institute of Technology) “‘La Jetée en Spirale’: Robert Smithson’s Stratigraphic Cinema”
    • Frances Guerin (University of Kent) “In the Eye of the Moth: Photographic and Cinematic Affinities in Mike and Doug Starn’s Attracted to Light”
• 11.00 – 12.30 SESSIONS 35-38
  • 35 Artists’ Words (II) (Chair: Michèle Hannoosh, Véronique Plesch)
    • Birgit Mersmann (Hochschule für Gestaltung, Karlsruhe) “Image and Script: (Ideo-)Logical Alliances. Calligraphic Reconfigurations in Contemporary Chinese Art”
    • Meredith Malone (University of Pennsylvania) “Spoerri’s Snare Game: ‘An Ancedoted Topography of Chance'”
    • Sabrina Bleecker Caldwell (Australian National University) “Graphically Speaking: Richard Tipping, Words, Images and the Politics of Imagination”
  • 36 Word and Image in Printed Books (I) (Chair: Peter Stallybrass)
    • Jane Farnsworth (Cape Breton University) “Visual Conduct: Richard Brathwaite’s Emblematic Frontispieces”
    • Peter de Voogd (University of Utrecht) “Shandean Typeface and Layout in Joyce’s ‘Ulysses'”
    • Eric T. Haskell (Scripps College) “Illustrating Baudelaire: Image-Text Inquiry and ‘Les Fleurs du mal'”
  • 37 Cinema and Photography: Time, Space, Theory (II) (Chair: Karen Beckman)
    • Zabet Patterson (University of California, Berkeley) “Collapse into Stillness: Jim Campbell’s Digital Averages”
    • Karl Schoonover (Independent Scholar) “Motion Minus Time: Futurism and the Afterlife of Photographed Movement”
    • Susan Nurmi-Schomers (Universität Tübingen) “‘Diderot, Brecht, Eisenstein, Fassbinder’ – Photography and decoupáge Film Aesthetics”
  • 38 Photography and Prose Fiction (I) (Chair: María DeGuzmán)
    • Eric Downing (University of North Carolina, Chapel Hill) “Nomadic Images: Errancy, Photography, and Memory in W.G. Sebald”
    • Nancy Shawcross (University of Pennsylvania) “The Word-and-Image Peregrinations of Grandville, Barthes, and Sebald”
• 14.00 – 15.30 SESSIONS 49-42
  • 39 Artists and the Art World in Fiction (II) (Chair: Charlotte Schoell-Glass, Martin Heusser)
    • Ari Blatt (Montana State University, Bozeman) “The Postman Cometh: Art and Critique in Pierre Michon’s ‘Vie de Joseph Roulin'”
    • Valentin Nussbaum (Université de Fribourg) “Serial Künstler: Portrait of the Artist as a Malefactor”
    • Brigitte Peucker (Yale University) “Material Images: The Psychotic Tableaux of Cannibal Horror”
  • 40 Breaking the Frame: From Comic-Strip to Graphic Novel (I) (Chair: Rita Barnard)
    • Steen Christiansen (Aalborg University, Denmark) “The Truth of the Word, the Falsity of the Image”
    • Sayumi Takahashi (University of Pennsylvania) “Electric Affinities in the Comic Unconscious”
    • Charles Hatfield (California State University, Northridge) “In the Shadow of no Towers: Terror and Fragmentation in Art Spiegelman’s Postmodern Broadsheets”
  • 41 Word and Image in Printed Books (II) (Chair: Eric T. Haskell)
    • Shane Agin (Duquesne University) “Illustration as Imaginative Restraint in Rousseau’s ‘La Nouvelle Héloïse'”
    • Nicolas Bock (Université de Lausanne) “Illustrating the Melusine-Saga. A French Manuscript Text of the 14th Century, its German Translation into Prose, and its Illustrated Print Editions”
  • 42 V-V-V on-line: Verbal-Visual-Vocal Poetries in Hyperspace (II) (Chair: Charles Bernstein)
    • Al Filreis (University of Pennsylvania) “‘It is 3:17 AM’: Digital Poetics and the End of the Classroom as We Know It”
    • Sue Salinger (Naropa Archive Project) “Taste My Mouth in Your Ear: Taking the Kerouac Collection Online, Year One”
    • Kenny Goldsmith “If It Doesn’t Exist on the Internet, It Doesn’t Exist”
• 16.00 – 17.30 SESSIONS 43-46
  • 43 Breaking the Frame: From Comic-Strip to Graphic Novel (II) (Chair: Rita Barnard)
    • Miriam Harris (Unitec New Zealand) “Cartoonists as Matchmakers: The Vibrant Relationship of Text and Image in the Work of Lynda Barry”
    • E.L. McCallum (Michigan State University) “Layered Readings and the Visual Narrator”
    • Stephen Hock (Haverford College) “Co-Mix Re-Mixed, or, The Strange Case of Mr. Chabon”
  • 44 Theory of Photography, Psychoanalysis, and the Theory of Literature (Chair: Jean-Michel Rabaté)
    • Zsofia Bán (Eotvos Lorand University, Budapest) “Images of Absence: Family Pictures, Trauma and Memory”
    • Joshua Ramey (Villanova University) “Hysterically Visible: Andy Warhol’s Politics of Enjoyment”
    • Nicholas Rennie (Rutgers University, New Brunswick) “Shooting Moses: Idolatry and Iconoclasm in the Freudian Gaze”
  • 45 Photography and Prose Fiction (II) (Chair: Eric Downing)
    • María DeGuzmán (University of North Carolina, Chapel Hill) “The Photographic Thought of Latina/o Literature and Cultural Critique”
    • Leslie Stewart Curtis (John Carroll University) “Don DeLillo’s ‘Mao II’ and ‘A Night in Baghdad’: the Terrorism of Word and Image”
    • Laura Saltz (Colby College) “Thresholds of the Visible: Photography and Hawthorne’s ‘House of the Seven Gables'”
  • 46 V-V-V on-line: Verbal-Visual-Vocal Poetries in Hyperspace (III) (Chair: Charles Bernstein)
    • Matthew G. Kirschenbaum (University of Maryland) “Introducing nora: Poetry, Pattern Recognition, and Provocation”
    • Mark Liberman (University of Pennsylvania) “Text-Voice Alignment”
    • Charles Bernstein (University of Pennsylvania) “PENNsound: Prospect and Retrospect”
• 18.00 CLOSING EVENT
  • Art Spiegelman “Comix 101”

PROCEEDINGS Elective Affinities: Testing Word and Image Relationships. Word & Image Interactions 6 Editors: Catriona MacLeod, Véronique Plesch and Charlotte Schoell-Glass Editions Rodopi (Amsterdam/New York NY), 2009.

Contents

Catriona MACLEOD : “Introduction” 11-17

Summaries

UNION
Michael R. TAYLOR : “Consulting the Manual: Word and Image in Marcel Duchamp’s Étant donnés” 31-45
Adriana DRAGOMIR : “Living and Dying in the Limelight: Performing the Self in Frida Kahlo’s Diary and Paintings” 47-60
Laurence WUIDAR : “Imbrication de l’image, du texte et de la musique dans un corpus de prières énigmatiques à la Vierge” 61-75
Cordula GREWE : “The Künstlerroman as Romantic Arabesque: Parody, Collaboration, and the Making of The Modern Vasari (1854)” 77-97
Karen E. BROWN : “The ‘Inscapes’ of Louis le Brocquy” 99-112
Robert GRANT : “American Scenery/Canadian Scenery: Conflicting Views of Indigenes in Mid-Nineteenth-Century British Portrayals of the American Continent” 113-128
Miriam HARRIS : “Cartoonists as Matchmakers: The Vibrant Relationship of Text and Image in the Work of Lynda Barry” 129-144

CONFLICT
Steen CHRISTIANSEN : “The Truth of the Word, the Falsity of the Image: Transmetropolitan’s Critique of the Society of the Spectacle” 147-158
Danielle LEENARTS : “Le magazine français Vu (1928-40): Naissance de l’information visuelle et utopie de la substitution de l’image photographique au texte écrit” 159-171
Hubert LOCHER : “From Ekphrasis to History: Verbal Transformations of the Display of Picture Galleries – Wilhelm Heinse and Friedrich Schlegel” 173-185
Lauren S. WEINGARDEN : “Modernizing History and Historicizing Modernity: Baudelaire and Baudelairean Representations of Contemporaneity” 187-203
Valentin NUSSBAUM : “Serial Künstler: Portrait of the Artist as a Malefactor” 205-219
Jonathan MARSHALL : “Hypnotic Performance and the Falsity of Appearances: The Aesthetics of Medical Spectatorship and Axel Munthe’s Critique of Jean-Martin Charcot” 221-240

EXPERIMENT
Susana OLIVEIRA : “New Light and Old Shadows: Industrial Illumination and its Imaginaire” 243-260
Jennifer A. GREENHILL : “Illustrating the Shadow of Doubt: Henry James, Blindness, and ‘The Real Thing'” 261-280
Eric T. HASKELL : “Picturing Paradise: Baudelaire’s ‘L’Invitation au voyage'” 281-297
Julia FRIEDMAN : “The Writing-Drawing Continuum of Alexei Remizov” 299-316
Spyros PAPAPETROS : “Aby Warburg as Reader of Gottfried Semper: Reflections on the Cosmic Character of Ornament” 317-336
Cristina CUEVAS-WOLF : “John Heartfield’s Insects and the ‘Idea’ of Natural History” 337-353
María DEGUZMÁN : “The Photographic Thought of Latina/o Literature and Cultural Critique” 255-368
Susan NURMI-SCHOMERS : “Diderot, Brecht, Eisenstein, Fassbinder: Découpage Aesthetics on the Divide” 369-385
Birgit MERSMANN : “(Ideo-)Logical Alliances between Image and Script: Calligraphic Reconfigurations in Contemporary Chinese Art” 387-399