Cover
Half Title
Series Information
Title Page
Copyright Page
Table of Contents
List of Figures
List of Contributors
Acknowledgments
Introduction
Part I—Aesthetics, Art, and Literature: Theoretical Concerns
Part II—Ekphrastic Encounters
Part III—Intermedial Crossings: From Antiquity to the Nineteenth Century
Part IV—Intermedial Crossings: From Modernism to the Present
Works Cited
Part I Aesthetics, Art, and Literature Theoretical Concerns
1 The Concept of Literature
I
II
III
IV
V
Notes
Works Cited
2 Cracking the Mirror: Autobiography and Self-Portraiture
Notes
Works Cited
3 Literature, Art, Craft
Aesthetic Experience
The Question of Craft
The Theory of Techne
Craft and Art, Visual and Verbal
Notes
Works Cited
4 Beauty as Interaction
Note
Works Cited
5 Figuration: The Cinematic in Literature
Introduction: Seeing Literature
The Figural in Movement: Cinematic Literature
Turning Cinematic Literature Moving
Framing the Cinematic: Mistakes as Moving
Intermediality: The Cinematic as Literature
Notes
Works Cited
6 A New Science of Aesthetics: The Dual Brain Mechanics of Beauty, Wonder, and the Sublime
A Brief History of Aesthetics: The Beginnings
A Brief History of Aesthetics: Part II, After Aristotle
Our Brain—And What It Reveals About Art
How Art Can Combine Logic and Narrative
A New Science of Aesthetics
Response One: Wonder
Response Two: Beauty
Response Three: The Sublime
Conclusion
Notes
Works Cited
7 Experiential Aesthetics and Varieties of the Sublime
What Is Beauty?
What Is the Sublime?
Proto-Sublimity
Emotional Sublimity
Complex Information-Processing, Intuition, and the Inconceivable Sublime
The Literary Sublime: Universal Stories
Conclusion and Future Research
Notes
Works Cited
8 The Unattainable in the Literature of Love
Plato’s Symposium Sets the Scene
The Concept of “Unity-In-Love”
Where Do the Great Lovers Fall in Diotima’s Ladder of Love?
Dissolving in the Divine
Notes
Works Cited
9 “Go and Catch a Falling Star”: Embodiment, Cognition, and Imagery
Imagery Is a Core Element of Perception and Action
Ekphrasis and the Limits of Art
Imagery, Memory, and Pleasure
Ekphrasis as Iconoclasm
Ekphrasis, Conceits, and Wit
Notes
Works Cited
Part II Ekphrastic Encounters
10 Ekphrastic Encounters and Contemporary Fiction
Notes
Works Cited
11 The Strange Case of Notional Ekphrasis
Notional Ekphrasis
The Elusive Painting
Superimposed Paintings: Double Exposure
Haunting the Text: Hesitation and “Revenance”
Issues at Stake
Notes
Works Cited
12 The Temporal Politics of Chaucerian Ekphrasis and the Beginnings of Trecento Art History
Notes
Works Cited
13 Ekphrasis and the Modern Lyric
Notes
Works Cited
14 Negotiating the In-Between: Culture as “A Gift That Circulates and Which No One Owns” in Nick Joaquín’s “A Portrait of the Artist as Filipino: An Elegy in Three Scenes”
A Portrait of the Artist as Filipino: A Grotesque Negotiation of Colonial Cultural Legacies
Staging Ambivalent Encounters
Conclusion
Notes
Works Cited
15 Multivalent Muses in Mori Ogai’s Fictions
Introduction: Ogai’s Stories of Muses and Ekphrasis
“Record of Transience”
“Hanako”
Conclusion
Notes
Works Cited
16 Making Magic: Comics and the Ekphrastic Art of the Almost There
Reading the Work of (Comics) Art
Pentimento Life: Layering the Past
What Lies Beneath
Conclusion
Notes
Works Cited
17 Ekphrasis: Art and Texts On Art in the Ottoman World
Traditions of Written Culture in the Ottoman World
Tezkiretü’l Bünyan
Risale-I Mi’mariyye By Cafer Efendi
The Spokesman of Isthmus—Erol Akyavas
Concluding Notes
Notes
Works Cited
18 “Wildly Visual”: Bouvier, Synge, and Flaherty On the Aran Islands
Color
Composition
Vision(s)
Notes
Works Cited
19 A Matisse Story: A. S. Byatt’s “A Lamia in the Cévennes” and the Religion of Happiness
The Mythological and Poetic Intertext
The Pictorial Intertext
A Matisse Story
Notes
Works Cited
20 Art–Life–Planet: Ekphrasis Today
Introduction
Ekphrastic Reflections On Aura, Canon, and Aesthetic Value
Ekphrastic Entanglements of Art and Life
Ekphrasis in the Anthropocene
Coda
Works Cited
Part III Intermedial Crossings From Antiquity to the Nineteenth Century
21 Vispo: A History of Visual Poetry
Pattern Poetry
Poetry, Illustration, and the Graphic Image
Poetry in Three Dimensions
Notes
Works Cited
22 Entwining Ephemeral With the Eternal: Locus, Conca, and Margarita at Conques
Locus/Topos Containing Pothos and Phobos
Choros as Topos/Locus in Paris, BnF, MS Lat. 776, Fol. 1v
The Corona as Imitatio Christi
The Hidden Corona in the Inscription On the Tympanum at Conques
The Chorona in the Temporal Performance of Chant
Nestling Christ: Margarita, Conca, and Love
Notes
Works Cited
23 Representing Truth in Illuminated Arthurian Manuscripts: Specular Encounters and the Meta Image
Notes
Works Cited
24 Dasharatha’s Oil Vat in the Mewar Ramayana
Conclusion
Notes
Works Cited
25 The Pictorial Parallel and the Early Histories of Eighteenth-Century BRITISH Fiction
Pictorial Discourse in the Histories of Eighteenth-Century Fiction Before Scott
The Pictorial Parallel in Walter Scott’s Essays On Eighteenth-Century Novelists
Note
Works Cited
26 Laurence Sterne and Eighteenth-Century Visual Culture
Tristram Shandy’s Aesthetic Project in a “Culture of Visuality”
The Time-Space Script in Tristram Shandy’s Experimental Narrative
A Sentimental Journey’s Movements Through Narrative Space and Time
Works Cited
27 Delacroix Reads Ivanhoe: “Painting Thoughts”
Introduction
“[P].ainting Thoughts”
“[T].he Work of the Reader”
Reproducing Scott’s Thoughts in the Gaugain/Ardit Lithographic Suite: Delacroix and “Dual Citation”
The French Reception of Scott’s Ivanhoe
Chapter 22 “Isaac in the Dungeon With Frondebœuf”
Chapter 27 “Ulrica Recounts Her History to Cedric”
Chapter 30 “Front-De-Bœuf Burning in His Bed”
Chapter 40 “Wamba Escorting Richard. They Halt Their Horses. He Shows Him the Ambush.–The Horn.”
Conclusion
Notes
Works Cited
Part IV Intermedial Crossings From Modernism to the Present
28 Another Turn of the Screw: Illustration as Interpretation
Notes
Works Cited
29 Driving the Plot Through Color
Introduction: Deadly Dangerous Color
Performance Anxiety as an Entrance Into Art
Far Encounters
Safely Seeing the Sun
Notes
Works Cited
30 T. S. Eliot and the Gesamtkunstwerk Or “Total Work of Art”
Eliot and Schopenhauer On Art and Poetry
Wagner’s “Beethoven” (1870), Nietzsche’s Birth of Tragedy (1872), and Four Quartets as Gesamtkunstwerk
Notes
Works Cited
31 Dancing Feeling, Or Kinesthetic Empathy in Contemporary Dance Fictions
Dance and Performance of Cultural Identities
Kinesthetic Empathy and Dance
Passing Resemblances in Swing Time
Fellow Feelings in This Mournable Body
Conclusion
Notes
Works Cited
32 Inscribed Sites: Verbal Art in Postmodern Built Environments
Approaching Ian Hamilton Finlay’s Garden
Inscribing Sites
Reading Ann Hamilton’s Room
Decoding the Lins’ Campus
Notes
Works Cited
33 Detritus Art After WWII: Impoverishment, Collage, and the Inoperative Tradition
The Lazarean and Humble Materiality
Collage Aesthetics and the Detritus of History
Collages of Materials and Images of Reuse and Refuse
Notes
Works Cited
34 Behind the Painting, A Pantoum: Literature and Art and Southeast Asia
Extraordinary Concurrence: The Historical Emergence of Modern Art and Literature in Southeast Asia
Modern Literature in Contemporary Art: Fyerool Darma and Chulayarnnon Siriphol
Conclusion: Past and Present, Art and Literature
Notes
Works Cited
35 Bridging Worlds: Infographics, Maps, and Photographs in Graphic Novels
Maps, a Geographical Tool
Infographics, a Data Tool
Photographs, a Recording Tool
Conclusion
Works Cited
36 Conceptual and Performative Art in Tom McCarthy, Michel Houellebecq, and Don DeLillo
The Making of Incarnation
The Map and the Territory
The Body Artist
Notes
Works Cited
37 Concealed Strokes: Fu-Bi as Aesthetic Principle
Suggestive Concealment
Hiding in Plain Sight: Concealment and Visibility
Gap-Filling: Reverberations in the Emptied Space
Patterning
Conclusion
Notes
Works Cited
Index