The Routledge Companion to Literature and Art (Routledge Literature Companions)

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