Newsletter 13

13 – Spring 2012

||||| IAWIS/AIERTI Partnership with Ashgate
||||| IAWIS/AIERTI at the College Art Association
||||| IAWIS/AIERTI at the International Congress on Medieval Studies, Kalamazoo
||||| University of Dundee Museum Collections Receive Art Fund Grant
||||| New Program in Word and Image Studies at the University of Poitiers
||||| To Attend
||||| Call for Papers
||||| Recent Publications by Members
||||| News from Members

Dear members,
Spring greetings! Even though our triennial conference in Montreal seems just behind us, IAWIS’s board is already preparing our 2014 conference “Riddles of Form: Exploration and Discovery in Word and Image.” Many of us will be in attendance at this summer’s conference of the Scottish Word and Image Group (SWIG), “Excavating Time: Uncovering and Recovering the Past in Word and Image,” which will take place at the University of Dundee in July (details here below in “To Attend”) and we hope to see you at what promises to be an exciting meeting as well as the occasion to get acquainted with the venue of our next triennial conference. Speaking of Dundee, read below the news of the impressive grant that the university museums just received. As you might remember from my previous newsletter, Dundee’s topic, “Riddles of Form,” takes its cue from the writings of two of Dundee’s great visual thinkers, D’Arcy Thompson and Patrick Geddes, and so this grant, meant to build a collection inspired by one of them, will greatly contribute to our 2014 conference. More kudos to the University of Dundee: just a few days ago came the news that it had been ranked best in the UK in this year’s Times Higher Education Student Experience Survey! (
Another important piece of news from the board is that we are in the process of revamping our website. Our webmaster, Michael Stamper, has been creating a beautiful new design. We welcome all your suggestions and desires for this new website (feel free to write to me,
As you read news about IAWIS/AIERTI’s presence at conferences, please keep in mind that we strongly hope that you’ll get involved and propose future sessions. As always, you’ll find news from members, of their recent publications in word and images studies, and of conferences they are organizing or of interest to us.
Véronique Plesch

Ashgate has set up a dedicated web page for our association within their website ( This allows our members to purchase a large selection of books at a discount. When ordering, IAWIS/AIERTI members should use the promotional code IAWIS20.

CAA NEW YORK, 2013: CALL FOR PAPERS: FROM THE WALL, TO THE PRESS, TO THE STREETS, College Art Association 101st Annual Conference, 13–16 February 2013, New York, session conveners: Dr Eve Kalyva and Dr Ignaz Cassar
The divide between art and language has historically functioned as a metaphor of the division between high and low culture. Many artistic practices have challenged this binary, where the concept of gallery enclosure can be understood as a literal and figurative qualifier of art: a space that is distinct from, yet exists within, the wider social sphere.
Especially in twentieth and twenty-first century art, the use of language has facilitated a material and discursive transgression beyond the traditional art-object and its institutional isolation. Works that combine image and text have appeared on gallery walls, the popular press, and other public sites such as billboards and pavements. Such activities widen the engagement with art and open new channels of communication and participation. They also challenge, and often alter, the traditional hierarchies that underline the artworld, from the production of art to its display and consumption.
Acknowledging the manifold social practices of contemporary art, as well as the diversity of scholarship that IAWIS/AIERTI embraces, this session wishes to address the presence of image and text in the public sphere from both a historical and critical perspective. In what ways can the use of language in art practices transform the domain of the artworld? How have art institutions shifted their policies in response to such practices? With this session, we also hope to consider the sociality of art, as this becomes evident by artistic practices that transgress the gallery enclosure of art.
We invite papers that discuss the social interaction and contact with works that manipulate the visual and the textual beyond the traditional frame of art—a frame that can be understood in material, institutional, and theoretical terms. Suggested topics include, but are not limited to:
– Subversive displays of word and image: public readings and private gaze;
– The rhetoric of public art: using language to challenge the divides of private/public, elitist/communal;
– Working around the frame: spatial transgression as institutional critique;
– Open-access art in new sites: from art magazines and postcards to billboards, the Internet, and social networking sites;
– Institutional responses and marketing: copyright laws and ethical restrictions

Please send your paper proposals of maximum 250 words (for a conference paper of 20 minutes) to the session conveners Dr Eve Kalyva ( and Dr Ignaz Cassar ( by the deadline 1 July 2012.


We invite members to start thinking about sessions to propose for CAA 2014. IAWIS, as an affiliate society of CAA, may submit proposals for regular sessions as well as for an affiliate society session at the conference. Please send your proposal (250–300 words), which will be reviewed by the IAWIS board, by 1st August. Untenured scholars are particularly encouraged to submit proposals.

THE 2012 SPONSORED SESSION, at the 47th International Congress on Medieval Studies (10–13 May 2012), will be on THE END OF TIME: WORDS AND/OR IMAGES. It is scheduled for Thursday 10 May at 1:30pm in Fetzer 2030 (Session 77).
Organized by Clifford Davidson and Véronique Plesch, it includes the following papers: Sébastien Nadeau, Université du Québec à Montréal, “Omnes perversi sic svnt in tartara mersi: Conques, a Satirical Iconography of the End of Time” and Jerry Root, University of Utah, “The Theophilus Legend: Visualizing Salvation.” Our third scheduled speaker, Bronwyn V. Wallace, University of Pennsylvania (“Apocalyptic Geographies: Mapping Scripture in the English Reformation”) had to cancel because of health reasons. As a result Clifford Davidson will deliver an introduction on both the end of times in 2012 according (erroneously) to the Mayan calendar and Doomsday in the middle ages.
NEXT SESSION, at the 2013 congress, organized by Janet T. Marquardt and Véronique Plesch, will be on SEEING DOUBLE: TEXTS AND IMAGES SHAPING THE PAST: How do words and images work together (or against each other) to construct a certain image of the past? This session welcomes papers on all aspects of the representation of the past, whatever the discipline (history, literature, art history, architecture, etc.) or the genre (illustrated books, works of art, public monuments, museums, etc.) and either in the period studied or in post-medieval scholarship. Deadline for submitting an abstract will be announced (usually around mid-September).
FUTURE SESSIONS: Anyone interested in proposing (and chairing) a session topic at the International Congress on Medieval Studies should contact Véronique Plesch (

The University of Dundee Museum Collections have been awarded a grant from the Art Fund of £100,000 to build a collection of art inspired by D’Arcy Thompson, the University’s first Professor of Biology.
Curator Matthew Jarron explained: “D’Arcy was a brilliant polymath whose work laid the foundations for the science of biomathematics but who also had an extraordinary influence on art and design that continues to this day. Many famous artists such as Henry Moore, Richard Hamilton and Jackson Pollock drew on his work and we’re keen to get today’s artists using his surviving collection in our Zoology Museum as a further source of inspiration.”
Jarron added: “We’re absolutely delighted to have been awarded this grant, which will allow us to acquire some 20th century artworks as well as working with contemporary artists to create new pieces for our collection.” The Museum Collections will work in partnership with various other organisations to create a programme of exhibitions and events around the project, including Duncan of Jordanstone College of Art & Design, Dundee Contemporary Arts, Dundee Science Centre and the Slade School of Fine Art in London.
The grant was awarded through the Art Fund’s RENEW programme, which gave a total of £600,000 to six UK museums in 2011 to establish new collections of art, collections which connect, in exciting and creative ways, with their existing holdings and current audiences. The University of Dundee Museum Collections is the final museum to be accepted into the scheme, which has been made possible through support from the Esmée Fairbairn Foundation as part of its 50th birthday celebrations.


LE NOUVEAU MASTER TEXTE/IMAGE, SPÉCIALITÉ RECHERCHE « LITTÉRATURES ET CULTURES DE L’IMAGE » À L’UNIVERSITÉ DE POITIERS forme les étudiants à la recherche dans les domaines croisés de l’écrit et du visuel. Les cultures de l’image (artistique, esthétique, sémiologique, médiatique) s’ancrent dans un contexte où le visuel se mêle au verbal dans des œuvres depuis l’antiquité jusqu’aux dispositifs les plus contemporains, dans le champ littéraire et artistique français et international. Les séminaires abordent les principales questions théoriques du Texte/Image et des intermédialités contemporaines, ainsi que le rapport crucial entre esthétique et politique. Ils proposent aussi des analyses de corpus en français et en anglais mêlant littérature et image selon les dispositifs précis de cette dernière : littéraire, graphique, scénique, cinématographique, numérique. Les enseignements permettent ainsi à l’étudiant de situer son objet personnel de recherche (sous la direction d’un enseignant-chercheur) dans le champ des études littéraires et visuelles, en français et en anglais.
The program also started a Facebook page:
Contacts : et
Anne-Cécile Guilbard
Université de Poitiers



Le rébus, qui note un énoncé à l’aide d’images, constitue un objet privilégié pour l’étude des relations entre écriture et figure. Plusieurs articles ou monographies importantes lui ont déjà été consacrés, mais il n’a jamais été abordé de manière frontale et comparative à plus grande échelle. Nous nous proposons d’étudier son mode de fonctionnement et ses usages dans différentes cultures, en prenant pour point d’ancrage les systèmes d’écriture qu’elles utilisent.

Converseront ensemble des spécialistes d’objets aussi divers que le hiéroglyphe égyptien, l’emblème renaissant, les sûtra chinois, les enseignes picardes, la peinture japonaise, mais aussi les jeux poétiques, le cinéma et jusqu’aux exemples les plus récents de transcription icono-phonétique auxquels on peut donner le nom de rébus. Une telle variété invitera à multiplier les points de rencontre inédits dans une réflexion sur ce qu’on pourrait appeler, selon une analogie très ancienne avec le rêve, le « travail du rébus », sans jamais perdre de vue les distinctions matérielles, sémiotiques, fonctionnelles, et culturelles, entre les formes d’écriture en images retenues.
Liste des participants: Valérie Angenot (U. de Liège / U. catholique de Louvain), Violaine Anger (U. Evry Val d’Essonne), Diane Arnaud (U. Paris Diderot), Claire-Akiko Brisset (U. Paris Diderot), Hélène Campaignolle-Catel (CNRS), Nathalie Cazal (IHEJ), Anne-Marie Christin (U. Paris Diderot), Frédéric Cousinié (U. de Rouen), Dimitri Drettas (CRCAO), Béatrice Fraenkel (EHESS), Jean-Jacques Glassner (CNRS), Pascal Griolet (INALCO), Agnès Guiderdoni (U. catholique de Louvain / FNRS), Emmanuelle Hénin (U. de Reims), Clarisse Herrenschmidt (CNRS), Jean-Michel Hoppan (CNRS), Philippe Kaenel (U. de Lausanne), Laura Kendrick (U. de Versailles Saint-Quentin en Yvelines), Rainier Lanselle (U. Paris Diderot), Cédric Laurent (U. Rennes 2), Ségolène Le Men (U. Paris Ouest Nanterre La Défense), Jean-Claude Margolin (U. de Tours), Alfreda Murck (Palace Museum’s Painting and Calligraphy Research Center, Beijing), Michel Pastoureau (EPHE), Nadine Rayon (Lalic-STIH, U. Paris Sorbonne), Alice Tacaille (U. Paris Sorbonne), Emmanuelle Valette (U. Paris Diderot), Pascal Vernus (EPHE), Pierre Vilar (U. Paris Diderot), Michel Weemans (ENSBA, Bourges, / EHESS).
Site de référence:
Marianne Simon-Oikawa
Université de Tôkyô

LA CULTURE VISUELLE DU XIXe SIÈCLE – (FRANCE ET CONVERGENCES INTERNATIONALES), CRFJ, JÉRUSALEM, (22 MAI 2012), INSTITUT FRANÇAIS, TEL-AVIV, (23 MAI 2012). Organisé par Bezalel, Jérusalem, Le CRFJ, Jérusalem, L’institut français de Tel-Aviv, La Société des études romantiques et dix-neuvièmistes, Paris.
Avec l’apport de nouvelles techniques et le développement d’anciennes, le XIXe siècle inaugure une nouvelle ère du visuel. L’avancée des technologies qui y sont associées est exceptionnelle : progrès de l’imprimerie, invention de la photographie, avec leurs diverses évolutions – lithographie, héliographie, daguerréotype, paniconographie, photogravure, etc. Les premiers balbutiements du cinéma, vers la fin du siècle, instaurent déjà une nouvelle ère, mais qui ne fait que prolonger l’appétit d’images, fixes puis en mouvement, qui caractérise toute la période. D’autre part, l’évolution des arts « traditionnels » participe de cette démarche innovatrice : celle de la sculpture, de la peinture qui débute par le néo-classicisme et se termine par l’impressionisme mais aussi le symbolisme fin-de-siècle ; les développements de l’architecture avec l’emploi de nouveaux matériaux. Mais le XIXe siècle voit aussi le développement de paradigmes nouveaux du visuel : ceux associés à la mode et à ses moyens de diffusion (illustrations, affiches, journaux spécialisés, etc.), au journalisme et en particulier à la presse illustrée, à la caricature, à l’arrivée des premières bandes dessinées, à l’essor des arts décoratifs et du design.
Ce colloque ne veut pas (re)faire une histoire technologique de l’évolution du visuel et de ses nouveaux moyens au XIXe siècle, mais se propose de mettre l’accent sur son intériorisation et, en conséquence, sur le vécu des hommes et femmes du XIXe siècle face au visuel sous ses différentes formes. Dans ce cadre, seront également bienvenues les communications qui exposeront, dans une perspective comparatiste, l’influence des divers arts visuels français à l’étranger.

Excavating Time will consider the processes by which the past might be accessed, preserved, represented, interpreted or ‘fabricated’ through distinctive interactions between visual and verbal media.
See for the provisional programme and registration details, which should appear by early May. Confirmed keynote speakers are Professor Liliane Louvel of the University of Poitiers and Nat Edwards of University Museums in Scotland.
English at Dundee is also hosting a postgraduate day conference held in conjunction with the Scottish Word and Image Group. The keynote, just confirmed, is Dr Sarah Edwards of the University of Strathclyde, who is an expert on cultural nostalgia:
Keith Williams
University of Dundee
The aim of the conference is demonstrate different contemporary approaches to the problem of values and to deepen the axiological aspect of the study of literature, arts, and culture.
Basic themes of the conference: Definition of values in arts and literature; Form and content as vehicles of the value orientation of the artefact; Changes in the value orientation dependеnt on genre and style; Art as a mirror of the value orientation in certain periods; The influence of literature and arts on the value orientation of the society; Values in particular literary works.

The venue will be Royal Holloway, University of London (see The conference fee of around £450 will include full on-campus board and en-suite lodging and an attractive social programme. The conference organisers are: Judith Hawley (, Melvyn New (, and Peter de Voogd (
Proposals for individual papers or for panels on any aspect of Sterne studies are hereby invited. Please send them before 1 December 2012 to
For proposing an individual paper, please submit the following information: name and email address, academic affiliation, title of paper (and a 250 word abstract).

We also welcome proposals for fully-formed panels. To propose a panel, the panel chair should submit the following (individual panellists on such panels need not submit proposals separately): name, email address, and affiliation of chair, a 500 word abstract for the panel as-a-whole (abstracts for each paper are not required), title of panel, names, affiliations, email addresses of all participants, and titles for each paper.
Peter de Voogd
Universiteit Utrecht

SHANE AGIN, ed. Sex education in eighteenth-century France. Special issue of Studies on Voltaire and the Eighteen Century (SVEC) 9 (2011). ISBN 13 978-0-7294-1016-8. £60.00, €72, $95.
Did “sex education” actually exist in eighteenth-century France? Shaped by competing currents of religious dogma, atheist materialism and bourgeois morality, eighteenth-century France marked the beginning of what Michel Foucault called “une fermentation discursive” on matters related to sex. But when we consult the educational theorists or philosophes of the time for their opinions on preparing a young person for life as a sexual being, we are met with a telling silence. Did an Enlightenment era that dared to make sex an object of discourse also dare to make it an object of pedagogy?
Sex education in eighteenth-century France brings together specialists from a range of disciplines to address these issues. Using a wide variety of literary, historical, religious and pedagogical sources, contributors explore for the first time the nexus between sex and instruction. Although these two categories were publicly kept distinct, writers were effectively shaping attitudes and behaviours. Unraveling the complex system of rules and codes through which knowledge about sex was communicated, contributors uncover a new dimension in the practice of education in the eighteenth century
ANNE-MARIE CHRISTIN, ed. Histoire de l’écriture: De l’idéogramme au multimédia. Paris: Flammarion, 2012. ISBN 978-2-08123-798-8. €35. Le livre est paru simultanément au Japon chez Shufusha Co Ltd.

“L’art ne reproduit pas le visible, il rend visible” a écrit Paul Klee. L’Histoire de l’écriture repose sur le même principe: l’écriture ne reproduit pas la parole, elle la rend visible. Le support de l’image est devenu celui de l’écrit, et il en a déterminé le fonctionnement. Que l’invention de l’idéogramme soit liée aux pratiques divinatoires et à la lecture du ciel étoilé en Mésopotamie et en Chine nous le confirme.

Trois sections ont été ménagées dans cette Histoire. La première est consacrée aux plus anciens systèmes d’écriture et aux réinventions auxquelles ils ont donné lieu dans les civilisations qui ont choisi de les adapter à leur langue et à leur culture. La deuxième se concentre sur les alphabets, leur histoire et leur diffusion. La troisième montre comment l’alphabet occidental est parvenu à réintégrer l’image dans son système à travers ses incarnations successives, manuscrites et imprimées. Elle conduit à s’interroger sur les rapports qu’entretiennent les différents systèmes d’écriture avec le support informatique.

Les chapitres de ce livre font eux-mêmes appel à l’image de deux manières, selon qu’il s’agit d’illustrations complétant une démonstration, ou d’images privilégiées parce qu’elles témoignent de tel aspect particulier d’une culture écrite donnée, le texte qui les accompagne ayant alors pour fonction de les rendre mieux lisibles en les éclairant d’un commentaire.
María DeGuzmán. Buenas Noches, American Culture: Latina/o Aesthetics of Night. Bloomington: Indiana University Press. Forthcoming end of June / beginning of July 2012. ISBN 978-0-253-00189-4. Paperback $28, cloth $80.

Often treated like night itself—both visible and invisible, feared and romanticized—Latina/os make up the largest minority group in the US. In her newest work, María DeGuzmán explores representations of night in art and literature from the Caribbean, Colombia, Central and South America, and the US, calling into question night’s effect on the formation of identity for Latina/os in and outside of the US. She takes as her subject novels, short stories, poetry, essays, non-fiction, photo-fictions, photography, and film, and examines these texts through the lenses of nationhood, sexuality, human rights, exoticism, among others.
THERESE DOLAN, ed. Perspectives on Manet. Farnham: Ashgate, 2012. ISBN 978-1-4094-2074-3. $119.95, website price: $107.96.

Bringing forth fresh perspectives on Manet’s art by established scholars, this volume places this compelling and elusive artist’s painted œuvre within a broader cultural context, and links his artistic preoccupations with literary and musical currents. Rather than seeking consensus on his art through one methodology, or focusing on one crucial work or period, this collection investigates the range of Manet’s art in the context of his time and considers how his vision has shaped subsequent interpretations.
Specific essays explore the relationship between Manet and Whistler; Emile Zola’s attitude toward the artist; Manet’s engagement with moral and ethical questions in his paintings; and the heritage of Charles Baudelaire and Clement Greenberg in critical responses to Manet. Through these and other analyses, this volume illuminates the scope of Manet’s career, and indicates the crucial position the artist held in generating a modernist avant-garde aesthetic.
GUIDO FURCI et Marion Duvernois. Figures de l’exil, géographies du double. Notes sur Agota Kristof et Stephen Vizinczey. Rome: Giulio Perrone Editore, 2012. ISBN 978-88-6004-235-4. €15.

Agota Kristof et Stephen Vizinczey quittent leur pays natal, la Hongrie, suite à la révolution antitotalitaire de 1956. Si leurs routes ne se sont jamais croisées – la première s’exile en Suisse et adopte le français, le deuxième s’installe au Canada et apprend l’anglais –, depuis cette date pourtant leurs livres n’ont cessé de témoigner d’une histoire partagée – bien que vécue de manière profondément personnelle – dont seule la fiction ne saurait rendre compte. C’est justement sur ce dialogue qui s’établit en secret et à distance que cet essai se penche et s’interroge. Complément et prolongement des contributions critiques publiées jusqu’à présent sur chacun de ces écrivains, il propose une analyse thématique et plurielle qui, au lieu de mettre en place un système de comparaisons plus ou moins fondées, préfère se servir des textes de l’un pour mieux appréhender ceux de l’autre.
Ainsi, c’est par le biais de la juxtaposition que les nombreux aller-retour entre passé et présent, vicissitudes individuelles et mémoire collective, dévoilent leur sens le plus profond. Et cela dans le but, non pas de recentrer le discours autour des procédés rhétoriques favorables à toute sorte de pratique quelque peu documentaire, mais plutôt d’évaluer les potentialités de la littérature et de l’art en général lorsqu’il s’agit de « réparer les fautes », accommoder souvenirs et blessures afin qu’ils déclenchent un récit, peut-être véritable, mais pas nécessairement véridique.
BENOÎT GLAUDE. “Aire libre”, art libre?: Étude de la narration dans le champ de la bande dessinée franco-belge contemporaine. Louvain-la-Neuve: Academia, 2011. ISBN 978-2-8061-0017-7. €20, €21,50 hors Belgique et France.

Rares sont les études sur la bande dessinée qui considèrent celle-ci pour ce qu’elle est vraiment, à savoir un mixte séquentiel complexe d’images et de mots. L’étude de Benoît Glaude peut prétendre à cette distinction par sa prise en compte des trois composantes narratives de toute B.D. : l’iconique, le plastique et le textuel. Mérite supplémentaire de cette recherche : elle évite le piège d’une fermeture du sens sur lui-même, immanent et forclos dans les limites formelles de l’œuvre. Pour apprécier correctement les résultats de ses analyses internes, l’auteur les confronte aux implications signifiantes du contexte de création, identifié pour la circonstance à la collection « Aire libre », qui a marqué l’histoire de la bande dessinée franco-belge contemporaine et y occupe désormais une position stratégique.
Combinant perspective interne (sémiotique) et perspective externe (sociologique), Benoît Glaude construit une méthode d’analyse volontairement transdisciplinaire qui emprunte à la critique B.D., mais aussi aux théories sur le cinéma, la littérature et le théâtre. Cinq albums issus de la production franco-belge contemporaine font l’objet d’une vérification nuancée des hypothèses théoriques. Celle-ci confirme la très bonne maîtrise qu’a l’auteur du fonctionnement du champ de la bande dessinée en ce début de troisième millénaire.  
LINDA GODDARD. Aesthetic Rivalries: Word and Image in France, 1880-1926. Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien: Peter Lang, 2012. ISBN 978-3-03911-879-3. €50.00, $69.95.

This book explores interaction and competition between painting and literature in France, from the late nineteenth century to the early twentieth, offering new readings of works by key figures including Paul Gauguin, Stéphane Mallarmé, Pablo Picasso and André Gide. Combining close visual and literary analysis with a broader examination of critical discourse, the volume uncovers a mutual but often contentious exchange of ideas. The author challenges habits of periodisation, drawing attention to the links between Symbolist and Cubist criticism. Issues such as the debate about ‘literary’ painting, the role of art criticism and artists’ writings, as well as themes such as newspapers and gold, alchemy and forgery, are shown to connect the two centuries. In examining how the rejection of mimesis in painting affected literary responses to the visual arts, the book explores a shift in power from the verbal to the visual in the early decades of the twentieth century.
DAVID KENNEDY. The Ekphrastic Encounter in Contemporary British Poetry and Elsewhere. Ashgate, 2012. ISBN 978-1-4094-1880-1. $ $99.95, website price: $ 89.96.

Examining a wide range of ekphrastic poems, David Kennedy argues that contemporary British poets writing out of both mainstream and avant-garde traditions challenge established critical models of ekphrasis with work that is more complex than representational or counter-representational responses to paintings in museums and galleries. Even when the poem appears to be straightforwardly representational, it is often selectively so, producing a ‘virtual’ work that doesn’t exist in actuality. Poets such as Kelvin Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests, relish the ekphrastic encounter as one in which word and image become mutually destabilizing. Similarly, other poets engage with the source artwork as a performance that participates in the ethical realm. Showing that the ethical turn in ekphrastic poetry is often powerfully gendered, Kennedy also surveys a range of ekphrastic poets from the Renaissance and nineteenth century to trace a tradition of female ekphrastic poetry that includes Pauline Stainer and Frances Presley. Kennedy concludes with a critique of ekphrastic exercises in creative writing teaching, proposing that ekphrastic writing that takes greater account of performance spectatorship may offer more fruitful models for the classroom than the narrativizing of images.
LILIANE LOUVEL, ed. (with Leena Eilittä and Sabine Kim). Intermedial Arts, Disrupting, Remembering and Transforming Media. Cambridge: Cambridge Scholars Publishing, 2012. ISBN 978-1-4438-3285. £39.99, $59.99.–Word-and-Image—Concrete-Poetry—The-Scene-of-the-Visual—Music-and-Word1-4438-3285-5.htm

The essays in this collection, which were written by European and North American specialists, position intermediality as a praxis of interpretative analysis in order to show how intermediality challenges our notion of art. The writers examine the various intermedial relations between the arts, which may take the form of reference to another form of art, a combination of two or more forms of art or a generic transformation from one form of art to another. In such cases, an intermedial approach helps us to grasp the changing relationship between the arts, which affects our reception of experience.
Intermediality has profoundly changed our understanding of interdisciplinary relations, formerly examined in the field of interart studies. By introducing a medial aspect, intermediality has succeeded in making a “leap” from past practices of artistic interrelatedness to our contemporary medial age, in which literature along with other arts may be understood as a medium. This ambitious undertaking has contributed to the liberation of literature and other arts from an isolated position in the established scholarly landscape with its clear-cut borderlines between disciplines.
The essays in this collection are a valuable contribution to this on-going discussion about the relationships between the arts. The variety of essays published in this collection makes it an excellent introduction to academics and university students in such disciplines as literature, music, theatre, art history and media studies. Due to its clarity – which does not sacrifice philosophical depth concerning the role of intermedial studies for several forms of art – this book will also be of interest to academics and students who are currently working at advanced level art schools.
Janet Marquardt, ed. Françoise Henry in Co. Mayo: The Inishkea Journals. Dublin: Four Courts Press, 2012. ISBN 978-1-84682-324-4. Catalogue Price: €45.00, web price: €40.50.

French art historian Françoise Henry was one of the most important twentieth-century historians of Irish art. In 1937, she visited the island of Inishkea North (Co. Mayo) in advance of excavations in search of early medieval remains. She found cross-slabs and enough evidence to return the following year and again in 1946 and 1950. She kept technical notes on the archaeological material, but also personal journals recording her observations on the natural world, native culture around the area of Blacksod Bay and the exigencies of working on a remote island where supplies and communication were primarily conveyed by currach. In this edited translation of Henry’s journals, readers will delight in her evocative descriptions of the environment while being entertained by her awkward attempts to understand the former islanders she employed. An introduction to Henry by Marquardt and a generous selection of her photographs are included, Many of the photographic subjects can be found in her narrative and serve as charming illustrations to this bygone world.
ANDREA OBERHUBER. À belles mains: Livre surréaliste, livre d’artiste. Dossier special de la revue Mélusine 32. ISBN 978-2-8251-4185-4. €29.

Victor I. Stoichita. L’Oeil mystique. Peindre l’extase dans l’Espagne du Siècle d’Or. Paris: Editions du Félin, 2011. ISBN 978-2-86645-763-1. €35.

La plupart des mystiques sont d’accord sur le fait que la rencontre avec le transcendant est, dans son essence, ineffable, inénarrable, irreprésentable, ce qui n’empêche pas que la culture occidentale dispose d’innombrables textes littéraires et d’autant d’œuvres d’art qui en parlent. Il s’agit de textes paradoxaux et d’images problématiques puisqu’ils représentent ce qui, a priori, ne peut être ni vu ni représenté. C’est justement le grand défi de la « représentation de l’irreprésentable » que ce livre aborde. La peinture espagnole du XVIe et du XVIIe siècles fournira la plupart des exemples, mais l’enjeu de cette recherche est plus vaste. Il s’agit, en fait, d’aborder un cas extrême de la représentation picturale, dans un espace géographique limité mais sur une toile de fond très ample. Cette toile de fond est constituée, d’un côté, par l’art occidental de la même époque et, de l’autre, par la spiritualité de la Contre-Réforme, qui redécouvre le rôle de l’imaginaire dans l’exercice de la foi.
Considéré dans ce contexte, l’exemple de l’Espagne est à plusieurs titres instructif. Les caractéristiques fondamentales de l’imaginaire occidental s’y trouvent, indéniablement, poussées à leurs limites. Marquée d’abord par l’art des « Primitifs flamands » et, dans un second temps, par le maniérisme et le baroque italiens, la peinture espagnole cristallise un langage propre, ouvertement médité, à partir d’une assimilation assez tardive de solutions inventées ailleurs. On pourrait dire, en simplifiant, que la peinture espagnole atteint l’originalité non par ses inventions, mais par ses élaborations. Étant un art d’« élaboration », l’art espagnol sera également un art où toute nouveauté sera soumise à une grille interprétative presque obligatoire. Passionnée et cérébrale en même temps, la peinture espagnole offre ainsi un terrain extrêmement riche pour des recherches concernant les données théoriques de la représentation.
Barbara Wright, ed. Françoise Henry, Les îles d’Inishkea: Carnet personnels. Lille, Presses universitaires du Septentrion, forthcoming in June 2012. ISBN-10 2-7574-0372-9, ISBN-13 978-2-7574-0372-3. €19.

Les carnets personnels de Françoise Henry (1902-82), qui rendent compte de ses voyages en tant que jeune archéologue sur les îles d’Inishkea, au large de la côte nord-ouest du Mayo, s’inscrivent dans la tradition des récits de voyage, tout en rendant compte de la sociologie de cette région située aux confins de l’Europe à une époque charnière de son histoire. Publiés ici pour la première fois, avec Introduction et appareil critique, par Barbara Wright, ces carnets révèlent un grand amour de la nature et des animaux, ainsi qu’une écriture visuelle digne de cette grande spécialiste de l’art irlandais.
Cet ouvrage s’adresse à tous ceux qu’intéressent l’Irlande, la littérature de voyage et les biographies de femmes.

MARÍA DEGUZMÁN has been approved for promotion to full professor at the University of North Carolina at Chapel Hill (department of English and Comparative Literature).
LARS ELLESTRÖM informs us that the Nordic Society for Intermedial Studies (NorSIS) has been reorganized into the International Society for Intermedial Studies (ISIS) with a new website ( Elleström is chair of the executive board of the ISIS.
JANET MARQUARDT was awarded a grant from the Irish Heritage Council to support the photographic illustrations in Françoise Henry in Co. Mayo: The Inishkea Journals.
NANCY PEDRI was awarded the International Society for the Study of Narrative 2012 prize for the best essay in Narrative. Pedri’s article is entitled “Focalization in Graphic Narrative” and is co-authored with Silke Horstkotte from the University of Leipzig. It was published in Narrative 19.3 (October 2011) and examines focalization in Watchmen, Maus, and Persepolis.
LAUREN WEINGARDEN received a Fulbright Scholar’s Grant for her project “Trajectories of Baudelairean Modernity:  Brazil’s Inhotim in Context.” Weingarden’s project is based on Inhotim, an outdoor museum of contemporary installation art, set within the botanical gardens located in Brumadinho, Brazil. At her host institution, the Federal University of Minas Gerais, Belo Horizonte, she will teach a seminar on “The Performative Turn: Installation Art and Baudelairean Modernity.” Weingarden’s research and teaching will take place in February through May 2012.