{"title":"抵抗间隔性:温德姆·刘易斯的案例","authors":"A. Fitzgerald","doi":"10.58282/colloques.3932","DOIUrl":null,"url":null,"abstract":"Although both a painter and writer, and despite making some gestures towards intersemiotic art forms at the start of his career, Wyndham Lewis was resistant to the idea of hybrid forms of art or intersemioticity. Lewis’s scepticism regarding artistic fusion is the subject of this article, which draws on some unpublished material to underline the importance of distinctions in Lewis’s conception of the arts.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"47 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Resisting Intersemioticity: the Case of Wyndham Lewis\",\"authors\":\"A. Fitzgerald\",\"doi\":\"10.58282/colloques.3932\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Although both a painter and writer, and despite making some gestures towards intersemiotic art forms at the start of his career, Wyndham Lewis was resistant to the idea of hybrid forms of art or intersemioticity. Lewis’s scepticism regarding artistic fusion is the subject of this article, which draws on some unpublished material to underline the importance of distinctions in Lewis’s conception of the arts.\",\"PeriodicalId\":350956,\"journal\":{\"name\":\"Circulations entre les arts. Interroger l'intersémioticité\",\"volume\":\"47 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2016-11-29\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Circulations entre les arts. Interroger l'intersémioticité\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.58282/colloques.3932\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Circulations entre les arts. Interroger l'intersémioticité","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.58282/colloques.3932","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Resisting Intersemioticity: the Case of Wyndham Lewis
Although both a painter and writer, and despite making some gestures towards intersemiotic art forms at the start of his career, Wyndham Lewis was resistant to the idea of hybrid forms of art or intersemioticity. Lewis’s scepticism regarding artistic fusion is the subject of this article, which draws on some unpublished material to underline the importance of distinctions in Lewis’s conception of the arts.
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