WORD & IMAGE最新文献_第6页

‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater “这莲花咒是强烈的”:来源和选自艾玛·斯特宾斯的莲花食者

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2068310

Melissa L Gustin

{"title":"‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater","authors":"Melissa L Gustin","doi":"10.1080/02666286.2022.2068310","DOIUrl":"https://doi.org/10.1080/02666286.2022.2068310","url":null,"abstract":"Abstract Emma Stebbins’s untraced statue The Lotus-Eater (c.1857–60) purports to illustrate Alfred Tennyson’s poem of the same title, in turn derived from an episode in the Odyssey of Homer. This essay addresses the tension between Stebbins’s sculpture and Tennyson’s text. It brings to the discussion a body of antique visual and literary material to which Stebbins had access, images of and references to Antinous, the youthful and tragic lover of the Emperor Hadrian. Although the great flowering of Antinous scholarship and critique for queer men developed later in the nineteenth century, this study argues that the material was readily available for Stebbins, particularly through the writings of Johann Joachim Winckelmann and the objects in Rome, where she worked; later authors, such as John Addington Symonds, developed their commentary and fiction on Antinous from the same sources. The article brings together the thematic and visual resonances, references, and overlaps between the texts and images. It uses close attention to the formal qualities of the sculpture and the content of Tennyson’s poem to consider roads not taken, and how those options demonstrate the ambiguity in Stebbins’s finished sculpture: that is, its lack of clear moral or didactic content through its selection of the lotus-eater and Antinoan imagery, rather than a martial or moralizing figure from the poem. It demonstrates the complexity and subtlety of Stebbins’s selection of sources for her sculpture, and her rich, multivalent play between texts and images.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"19 1","pages":"478 - 498"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74106805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Put yourself in his shoes: embodying the archive in Joe Sacco’s The Fixer 设身处地为他想想:在乔·萨科的《修理者》中体现档案

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2068121

Iva Ančić

{"title":"Put yourself in his shoes: embodying the archive in Joe Sacco’s The Fixer","authors":"Iva Ančić","doi":"10.1080/02666286.2022.2068121","DOIUrl":"https://doi.org/10.1080/02666286.2022.2068121","url":null,"abstract":"Abstract This article interrogates the notion that comics that engage with history do so primarily within the scope of the archive. I argue, instead, that drawing and seeing/reading comics are embodied practices that generate meaning and memory in ways that exceed the discursive logic of the archive. Building on existing scholarship on embodied acts of memory within performance studies, I suggest that comics might better be seen in proximity to what Diana Taylor calls “the repertoire”: cultural memory embodied in live gestures, rather than deposited in language. Seen through the lens of the repertoire, a comic such as Joe Sacco’s The Fixer (2003) offers new ways to make visible and legible the histories that have been left outside the official archives. By opening up for analysis the body, its staging, and its gestures on the page, the lens of the repertoire makes good use of what archival memory dismisses as the site of traumatic aporia: the unreliable testimony of the perpetrator. Rather than dismissing such material, the methodology of the repertoire transforms it into a repository of cultural meanings, which provide an insight into the collective fantasies and imaginaries on which the nationalist archive tends to stay silent.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"76 1","pages":"464 - 477"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83308761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Mark Twain’s undictionarial Italian: the politics and visual humor of mistranslating newspaper scraps, c.1900 马克·吐温的非词典式意大利语:误译报纸碎片的政治和视觉幽默，约1900年

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1934371

J. Greenhill

{"title":"Mark Twain’s undictionarial Italian: the politics and visual humor of mistranslating newspaper scraps, c.1900","authors":"J. Greenhill","doi":"10.1080/02666286.2021.1934371","DOIUrl":"https://doi.org/10.1080/02666286.2021.1934371","url":null,"abstract":"Abstract Can a writer be considered a visual humorist? If words are the writer’s primary material, can they be bent into caricatural or grotesque formations? Through what filters must words be processed or mediated for comic pictures to emerge? This article seeks to answer these questions by focusing on an understudied short story that Mark Twain wrote in Florence, Italy: “Italian Without a Master,” published in Harper’s Weekly in 1904. The story offers a wild ride through the Italian language from the perspective of an English-speaking narrator who espouses “undictionarial” methods of translating the words he finds in the daily newspaper. To encourage readers to look at words with fresh eyes, Twain supplied, as his illustrations, clippings cut from the Italian papers. With these word-filled illustrations, Twain tests an expanded and experimental visuality, I argue, while also reimagining the terms of visual caricature. The story thus announces the capaciousness and elasticity of the writer’s comic vision, demonstrating his mastery over multiple domains. At the same time, however, the story also criticizes the impulse to expand into new territory by subtly gesturing to the geopolitics of imperialist “mastery,” which Twain railed against repeatedly at the turn of the century.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"50 1","pages":"165 - 189"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76497327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The text inside us: text on screen and the intertexual self in Bakemonogatari 我们内心的文本:《Bakemonogatari》中屏幕上的文本和互文的自我

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1988481

Christopher Smith

{"title":"The text inside us: text on screen and the intertexual self in Bakemonogatari","authors":"Christopher Smith","doi":"10.1080/02666286.2021.1988481","DOIUrl":"https://doi.org/10.1080/02666286.2021.1988481","url":null,"abstract":"Abstract Bakemonogatari (Monster Story) is a 2009 television anime (Japanese animation) produced by Studio Shaft and directed by Shinbō Akiyuki. To the plot and clever dialogue of the novels on which the show is based, the anime adds several striking filmic elements which create an entirely new layer of expression. Most notable among these elements is the profuse and reflexive use of text on the screen. The series is nearly overflowing with text, much of it highly conspicuous and disruptive, taunting the viewer with the promise of hidden meaning. Rather than attempt to decode this text, however, this article argues that the use of text to disrupt and infiltrate the narrative world engenders certain notable effects. For one, it creates a Brechtian alienation effect and reflexively calls attention to the construction of the anime. Most importantly, however, the use of text foregrounds intertextuality as a major theme; not only is Bakamonogatari itself intertextual, but also the anime attempts to show that everything from interior thought to sexual desire is ultimately intertextual in nature, linked through text to specifically historicized social constructs. Alienating text pervades everything, and therefore mediates everything, leaving nothing authentic or unique to the self.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"9 1","pages":"254 - 264"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86515368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England 《利德盖特和灯笼:15世纪早期英国建筑的话语、异端和伦理》

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.2006525

G. Byng

{"title":"Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England","authors":"G. Byng","doi":"10.1080/02666286.2021.2006525","DOIUrl":"https://doi.org/10.1080/02666286.2021.2006525","url":null,"abstract":"Abstract At the turn of the fifteenth century, architectural ethics acquired renewed prominence in England. A long-established discourse that had been developed by major figures in Europe’s intellectual history, and that threatened to reject all but the most utilitarian church-building projects, was given new energy, as well as a new English vocabulary and a newly extensive application, in heretical tracts and poems. At the same time, the poet most associated with the Lancastrian court, John Lydgate, was translating a lavish paean to ingenious and luxurious craftsmanship, while his patron’s circle was engaged in a wave of lavish building projects in cathedrals, universities, and parish churches—and, indeed, was prosecuting Lollards for their criticism of the same. Most remarkable, however, is that, having been scrupulously suppressed in the 1410s, a concern for restrained architecture would re-emerge twenty years later as a widely shared architectural ideology among England’s elite, including the king, Henry VI. For thirty years, it would come to shape a series of significant building projects. This article argues that this change must be understood as representing the reconstitution of a number of ideas and claims, necessitated by the dissolution of the interdependent antagonisms of the 1410s, in the context of newly influential spiritual, ethical, and sensory discourses.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"68 1 1","pages":"296 - 311"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87293501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A New Sun Emerges: the Aztec New Fire Ceremony in word and image 一个新的太阳出现:阿兹特克人的新火仪式的文字和图像

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1958289

Catherine R. Dicesare

引用次数: 0

Médium du portrait, portrait du médium: Les spécificités du pastel dans les discours sur l’art au XVIIIe siècle 肖像的媒介，媒介的肖像:18世纪艺术话语中蜡笔的特殊性

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1990730

I. Massé

引用次数: 0

Catherine of Siena’s chest stigma: ambiguities between the textual and visual traditions 锡耶纳的凯瑟琳的胸部耻辱:文本和视觉传统之间的歧义

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.2007706

Diana Hiller

{"title":"Catherine of Siena’s chest stigma: ambiguities between the textual and visual traditions","authors":"Diana Hiller","doi":"10.1080/02666286.2021.2007706","DOIUrl":"https://doi.org/10.1080/02666286.2021.2007706","url":null,"abstract":"Abstract After the Early Christian period, the practice of depicting Christ’s chest stigma on the right-hand side of his upper torso was an established component of stigmata iconography. Thereafter, this tradition was consistently followed in painted images of stigmatic saints—most notably in representations of St Francis of Assisi. St Catherine of Siena (1357–80) also bore the stigmata, and when her chest stigma was included in her portraits the conventional pictorial tradition continued and artists placed the wound on the right side of her chest. Plautilla Nelli (1524–88), a Dominican prioress and painter in Florence, however, introduced a new iconography. Contrary to all visual precedents, she painted several small works depicting Catherine with a bloody chest stigma on her left-hand side. The suggestion offered here is that Nelli’s unorthodox and original iconography was indebted not to the visual tradition but to two near-contemporary textual sources for Catherine’s stigmatization. Raymond of Capua’s Legenda maior and Thommaso Caffarini’s Libellus de supplemento report Catherine’s own account of her imprinting in which she testifies that the ray to her chest came to her left side, the side of her heart.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"100 1","pages":"312 - 325"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74144392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Chronicles of light and sound: the film-poems of Alfonsina Storni 光与声的编年史:Alfonsina Storni的电影诗歌

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1983712

Aleksander Sedzielarz

{"title":"Chronicles of light and sound: the film-poems of Alfonsina Storni","authors":"Aleksander Sedzielarz","doi":"10.1080/02666286.2021.1983712","DOIUrl":"https://doi.org/10.1080/02666286.2021.1983712","url":null,"abstract":"Abstract One of South America’s most popular poets, Alfonsina Storni is primarily known for verses of love and passion. During her lifetime, Storni also wrote as a newspaper columnist under the pseudonym Tao Lao. Storni’s association with film has primarily been discussed as part of her friendship with author and cinephile Horacio Quiroga but translations and analyses of Storni’s film-poems, mainly composed in the last decade of her life, show that she was experimenting in a fusion of verse and cinema. Drawing on the proliferation of consumer products bringing film and photography into everyday life in Argentina in the 1920s and 1930s, Storni’s film-poems blend word and image through the photochemical properties of the film medium and the spatial and temporal techniques of motion pictures. While Storni’s biographers have classified some film-poems as falling within the reportage genre of the chronicle (crónica), these multimedia experiments work problems of subjectivity and objectivity intrinsic to the time-based approach of the chronicle through filmic technologies, while also interrogating constructs of gender and colonial power that were deeply embedded in the visual culture of South America in the 1920s and 1930s.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"70 1","pages":"237 - 253"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90658144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

On the (un)seeable in Wassily Kandinsky’s Klänge 论瓦西里·康定斯基的(不)可见Klänge

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.2002128

Elissa Watters

{"title":"On the (un)seeable in Wassily Kandinsky’s Klänge","authors":"Elissa Watters","doi":"10.1080/02666286.2021.2002128","DOIUrl":"https://doi.org/10.1080/02666286.2021.2002128","url":null,"abstract":"Abstract In 1912, Wassily Kandinsky (Russian, 1866–1944) published a limited edition of Sounds (Klänge), an illustrated book of poems that applied many of the theories discussed in his publication On the Spiritual in Art (Über das Geistige in der Kunst, 1911). In Sounds, Kandinsky strove to train readers to sensorially perceive images hidden in visual and verbal abstraction. In both word and image, the artist explored various realizations of boundedness, repetition, and concealment with the aim of evoking various effects in readers. Ultimately, according to Kandinsky’s theories, the fluidity between the “seeable” and “unseeable” allowed the “inner sounds” of the book’s words and woodcuts to resonate with readers in moments of perceptual clarity. Published on the brink of World War I, Sounds was released into a world that was about to change drastically. Although it influenced numerous avant-garde artists in the inter- and postwar periods, a newfound pessimism overshadowed Kandinsky’s idealistic aspiration. His utopian belief that abstraction would facilitate the arrival of a “Great Spiritual Epoch” ceded to a view of abstract art as a means of expressing the irrationality and brokenness of things. Today, Sounds is significant because of its influential form and content, its novel multisensorial aims, and its liminal sociohistorical context.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"13 1","pages":"278 - 295"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86965826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0