By Catriona MacLeod
This quantity provides the notable variety of scholarly affinities, techniques, and topics that symbolize state-of-the-art note and picture stories. The essays, a range of papers first offered in 2005 on the 7th overseas convention of the foreign organization of notice and photo Studies/Association Internationale pour l'Étude des Rapports entre Texte et picture that came about in Philadelphia, are case experiences of the various configurations of the textual and the long-lasting. "Elective affinities" - a thought initially borrowed via Goethe for his 1809 novel of an analogous identify from eighteenth-century chemistry - the following refers back to the lively position of the 2 companions within the courting of the pictorial and the verbal. Following the experimental modalities spread out by way of Goethe, the current quantity is split into 3 sections, which discover, respectively, how phrases and photographs can merge in concord, have interaction in conflicts and contestations, and, eventually, have interaction in an experimental approach that self-consciously assessments the limits and kinfolk between verbal and visible arts. New views on observe and photo relationships emerge, during times, nationwide traditions, works, and fabrics as diversified as (among many others) an set up by way of Marcel Duchamp and the handbook accompanying it; the effect of man-made mild assets on literature and paintings; nineteenth-century British illustrations of local american citizens; the modern comedian booklet; a seventeenth-century Italian devotional manuscript uniting textual content, photograph, and track; chinese language physique and function art..
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Additional resources for Elective Affinities: Testing Word and Image Relationships.
585, sans l’image). Polymorphisme, sopra le vocali, notation liné aire, rétrograde… autant d’éléments que devra vaincre le lecteur. La dernière énigme mariale à utiliser le procédé sopra una riga sola mélange exubérance et intimité, sobriété iconique abstraite et déferlement ﬂuvial de notes musicales multipliées à l’inﬁni (ﬁg. 4). Les huit notes de la mélodie de départ engendrent une inﬁnité de combinaisons polyphoniques: un minimalisme générateur de l’exubérance baroque. L’image, minuscule médaillon qui représente la Vierge afﬂigée baissant la tête vers les notes musicales, est en quelque sorte perdu sur la page des résolutions musicales, et illustre parfaitement le texte de la parti tion “Consolatrix afﬂictorum” (consolatrice des afﬂictions) dont la musique est extraite sopra le vocali.
314 41. Zamora, Martha. Frida: El pincel de la angustia. Mexico: Martha Zamora, 1987. Imbrication de l’image, du texte et de la musique dans un corpus de prières énigmatiques à la Vierge Laurence Wuidar Je voudrais ici interroger une série de partitions qui mettent en jeu le verbe, l’image et la musique, la richesse de ces œuvres provenant de leur triple na ture. Les sources mêlant ces trois composantes multimédiatisent un message qu’il nous est offert de lire sur plusieurs niveaux. Voir comment ces com posantes s’interpénètrent et quels rôles elles tiennent respectivement nous ouvre une fenêtre sur les rapports entre le lu, le vu et l’entendu.
The word enters again the image Performing the Self in Frida Kahlo’s Diary and Paintings 55 in the 1932 Self Portrait on the Borderline between Mexico and the United States,20 where the insertion reads “Carmen Rivera,” emphasizing the artist’s multiple identities she is Frida Kahlo as well as Carmen Rivera a tension reﬂected by the opposition between the new, industrial America and the old, spiritually rich Mexico. It also mirrors the conﬂict between Kahlo’s condition as artist and as Rivera’s wife, between a bold painter and a submissive wife, two roles that Frida could never fully harmonize.
Elective Affinities: Testing Word and Image Relationships. by Catriona MacLeod