Works of art such as paintings with words on them or poems shaped as images communicate to the viewer by means of more than one medium. Here is presented a particular group of hybrid art works from the early twentieth century, to discover in what way words and images can function together to create meaning. The four central artists considered in this study investigate word/image forms in their work. F.T. Marinetti invented
parole in libertà, among other ideas, to free language from syntactic connections. Umberto Boccioni experimented with newspaper clippings on the canvas from 1912-1915, and these collages constitute an important exploration into word/image forms. André Breton's collection of poems
Clair de terre (1923) contains several typographical variations for iconographic effect. René Magritte explored the relationship between words and images, juxtaposing signifiers to contradictory signifieds on the canvas. A final chapter introduces media other than poetry and painting on which words and images appear. Posters, the theater, and the relatively new medium of cinema foreground words and images constantly. This volume will be of interest to scholars of twentieth-century French or Italian literature or painting, and to scholars of word and image studies.
Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (
Tetsuo: The Iron Man  and
Tetsuo II: Body Hammer ), Sato Hisayasu (
Muscle  and
Naked Blood ) Kurosawa Kiyoshi (
Séance , and
Kaïro ), Nakata Hideo (
Ringu II , and
Dark Water ), and Miike Takashi (
Audition  and
Ichi the Killer ) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or ‘monstrous’ alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.
Myth, art, literature, film, and other discourses are replete with depictions of evil plants, salvific plants, and human-plant hybrids. In various ways, these representations intersect with “deep-rooted” insecurities about the place of human beings in the natural world, the relative viability of animalian motility and heterotrophy as evolutionary strategies, as well as the identity of organic life
as such. Plants surprise us by combining the appearance of harmlessness and familiarity with an underlying strangeness. The otherness of vegetal life poses a challenge to our ethical, philosophical, and existential categories and tests the limits of human empathy and imagination. At the same time, the resilience of plants, their adaptability, and their integration with their habitat are a perennial source of inspiration and wisdom.
Plants and Literature: Essays in Critical Plant Studies examines the manner in which literary texts and other cultural products express our multifaceted relationship with the vegetable kingdom. The range of perspectives brought to bear on the subject of plant life by the various authors and critics represented in this volume comprise a novel vision of ecological interdependence and stimulate a revitalized sensitivity to the relationships we share with our photosynthetic brethren.
This comparative, interdisciplinary study investigates the relationship between literature and the visual arts in France and Britain from 1750-1900. Through a close examination of the prose writings of Diderot, Baudelaire and Ruskin, read against the background of contemporary philosophy, aesthetics and theories of language,
In the Mind’s Eye proposes a new interpretation of the influence and rivalries underlying the development of art criticism as a genre during this period. The visual impulse – the desire to transcend the limitations of language and make the reader
see – is located within the historical traditions of
ekphrasis, enargeia and the
paragone, while in each chapter, the individual author’s theories of the mind, memory and imagination provide a critical framework for his stylistic experiments.
In the Mind’s Eye presents an in-depth analysis of the cultural, theoretical and aesthetic implications of artistic border crossings, and by contextualizing the movement toward visual/verbal hybridity in the fiction and criticism of Diderot, Baudelaire and Ruskin, brings new perspectives to nineteenth-century studies in art and literature.
famous secular object—a tenth-century glass bowl in the Treasury of San Marco—could mix classicizing iconography and Islamicizing ornament in order to allude to the hybrid origin of divination, at least as it was understood by the Byzantines, as both ancient Greek and contemporary Islamic. 48 To
’s dance dramas reworked subjects from traditional Indian narratives to reflect on modern concepts such as ‘nation’ and ‘woman’ through hybrid forms of dance drama and performance. This procedure, and the important role which female pupils and dancers (such as Mrinalini Sarabhai) played in it, was
hybrid phenomenon. The conference papers prepared the way for further discussion on this topic.
The first three papers led the way into the successive stages of the integration of Greek and Etruscan dance practices into Roman culture. Angela Bellia (“Between Magna Graecia
, see their chapter “Hybridation des sources, hybridation des genres” (39–49). Here, the “châtiments célestes” in Aubigné’s writing are shown to have come from the works of Simon Goulart ( Memoires de l’estat de France sous Charles ix
, Meidelbourg, 1578), Guillaume Du Bartas ( La Sepmaine ou
seems to have fallen to the curate, Stephen Isaacson, and its purchase from London antique dealer John Webb2 was under way bv 16 March The pulpit survived the second rebuilding of the nave in the 1 870s and is still in the church today. The pulpit is a hybrid work, presumably assembled bv or under the
, however, we deal with productions that are a sort of narrative hybrid—productions which have qualities typical for trivially serial works, but which are nevertheless non-trivially serial. 22 Unless specified otherwise, when we use the term “TV series” we mean both strict TV series and TV serials. We are