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Homer's treatment of the Matter of Troy illuminates the foundational impossibility of representation in ways that sponsor examination of the semiotic choices, the costs and benefits and tradeoffs, of different practices. Homer's ekphrastic description of the shield of Achilles highlights a variety of available semiotic systems focused on different media of representation. This article explores Homeric ekphrasis in relation to later theories of media intersection, interaction, and transformation. Not only word, image, music, and dance, but also human perception as such, are subject to mediation. [ABSTRACT FROM AUTHOR]

Building on recent specialised studies on the critique of illustration in individual authors or periods, this article develops a new methodology for a large comparative study of the critique of literary illustration. Notably, this article argues for the benefits of developing a catalogue of basic arguments levelled against the pictorial illustration of literary texts. By distinguishing between these arguments and by tracing these arguments throughout history, we stand to gain new insights into not only the history of literary illustration but also into broader trends in literary and cultural history, which inform the critique of illustration. These general remarks are further developed through exemplary analyses of three prominent criticisms of illustration from the nineteenth century as well of their varying legacies in the twentieth and twenty-first centuries: illustrations limit the reader's imagination; illustrations are merely included for commercial gain; and illustrations limit intellectual pursuits. [ABSTRACT FROM AUTHOR]

In many histories of nineteenth-century literature of the Low Countries, only a handful of authors are associated with emerging genres of regional fiction such as the village tale. In view of the immense popularity of regional literature, these histories overlook a large part of the literary field. This article aims to provide complementary perspectives by looking at how nineteenth-century Dutch and Flemish regional literature was framed and understood in contemporary reception, by systematically tracing all mentions of other artists and authors in reviews of selected authors. This has resulted in a 'co-mention network', revealing associations contemporary reviewers made between Dutch and Flemish regionalist writers and other cultural figures. This network functions as a starting point for investigating the impact of genre, gender and nationality on associations between authors, while also attending to which connections are not made, and which authors are left out of dominant narratives. Network analysis suggests that genre boundaries were fluid, and that numerous transnational authors were associated with Dutch and Flemish regionalists. At times nuancing or amending existing accounts of regionalism in literary histories, this article is also a tentative investigation of processes of canon-formation more broadly. [ABSTRACT FROM AUTHOR]

The publication of French translations of Mao's canonical works in the 1950s and 1960s sparked interest among French-left intellectuals. This paper investigates Rancière's appropriation and reinvention of Mao's thinking as an illustration of the exchange between Maoism and contemporary French left-wing theories on literature and art. First, drawing on Mao's "mass line," Rancière values the autonomy of the people rather than the leadership of the Althusserian intellectual elites. Second, Rancière's "part of those that have no part" differs from Mao's "the people" in the concept's scope and in how they are transformed into political subjects. Third, deeply indebted to Mao's "the people's literature and art" that underscores the centrality of ordinary people and their lives, Rancière's theory of politics of literature unleashes the liberating force of art and literature for the sensible of ordinary people, and calls for overthrowing the hierarchy of class politics. [ABSTRACT FROM AUTHOR]

This study aims to investigate the image reconstrual of Shan Gui 山鬼 in the multimodal translation from the poem Shan Gui to three renowned paintings, i.e., Li Gonglin's 李公麟 (date unknown; 1049–1106), Fu Baoshi's 傅抱石 's (1945) and Xu Beihong's 徐悲鸿 (1943), within the framework of social semiotics, and to explore the reason why the image changed through recontextualization. It is found that the image of Shan Gui reconstrued by Li looks like a detached sprite; Fu is a sentimental goddess, while Xu is a mundane human girl. Contextual factors, including scholastic explanations of the poem, the individual orientation of painters, and their media choices, contribute to such image divergence. [ABSTRACT FROM AUTHOR]

The article focuses on the influence of esotericism on the creative arts, highlighting its historical significance and contemporary relevance. It explores how esoteric traditions have impacted modern art and literature, emphasizing the intuitive and experiential knowledge they offer beyond traditional faith and rationality. It also discusses the marginalization of esoteric currents by dominant cultural institutions and the resurgence of esoteric ideas in popular culture.

The purpose of this paper is to address Rorty's critique of Dewey's notion of experience and to reaffirm a view in which the call to experience is indispensable for a genuinely contingent philosophy. In the first part, I analyze Rorty's critique of Dewey and show its inconsistency. In the second part, I draw a comparison between their aesthetic views and argue that a true aesthetic experience must consist in the cultivation and creative transfiguration of situational resistances. In the third part, using Jane Addams as an example, I illustrate how at Hull House the resistances provided by the situation were transfigured into original and meaningful aesthetic experiences that touched people's lives and allowed for a meaningful and intelligent reconstruction. [ABSTRACT FROM AUTHOR]

Pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In order to confront the shortcomings and insufficiencies of his aesthetics, pragmatist aestheticians ought to establish a dialogue with continental aesthetics. The attempt to clarify what pragmatist aesthetics can learn from Theodor W. Adorno's materialist aesthetics is still a desideratum. This essay focuses on two aspects. First, it shows that pragmatist aestheticians can use Adorno's modern aesthetics in order to gain a deeper and more complex understanding of the social nature or register of form (of what might be termed "die Gesellschaftlichkeit der Form"). Second, the essay demonstrates that Adorno, in contrast to Dewey, is valuable for the endeavor to grasp the significance of the dialectics of harmony and dissonance or organicity and fragmentation when analyzing modern art and literature. [ABSTRACT FROM AUTHOR]

This article asserts the critical role of art and literature in the resistance against fascism by situating the aesthetic work of African Americans as central to the transnational phenomenon of the Spanish Civil War. This article highlights the prehistory to the African American support of the Spanish Civil War in 1936 when news of Benito Mussolini's invasion of Ethiopia galvanized members of the Harlem Renaissance. These two conflicts triangulated the imaginaries of the United States, Spain, and Ethiopia, producing a distinct form of antifascist Black transnationalism that extends work by Brent Hayes Edwards, Robert F. Reid-Pharr, and Nadia Nurhussein. To manifest this argument, this article examines Paul Robeson's speeches at rallies in London that he later reprinted in his autobiography Here I Stand (1958) and Claude McKay's posthumously published novel Amiable with Big Teeth about 1936 Harlem. Using archival research, this article analyzes the collage aesthetic of the scrapbook that the activist Thyra J. Edwards compiled in 1937 to record the actions of the Negro People's Committee to Aid Spain. In sum, this article demonstrates the integral role of African American visual culture and literature to the development of twentieth-century antifascist ideology within a transnational perspective. [ABSTRACT FROM AUTHOR]

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The Allgemeines Historisches Taschenbuch, oder Abriss der merkwürdigsten neuen Welt-Begebenheiten (General Historical Pocketbook, or Outline of the most remarkable new world events), published in Berlin in 1784 and supported by the Academy of Arts, contained one of the most important contemporary accounts of the North American Revolution, titled Geschichte der Revolution von Nord-Amerika (History of the North American Revolution) by Matthias Christian Sprengel, professor at Göttingen University. It further contained influential illustrations, among them twelve engravings designed by Academy member Daniel Chodowiecki, each depicting a key motif from the American struggle for independence and its outcome. In the Metropolitan Museum of Art (New York), an original copy of the pocket book with the Geschichte der Revolution has been preserved, and it is unique in that eleven drawings by Johann Heinrich Ramberg are glued in in addition to the original plates. Ramberg of Hanover was to follow Chodowiecki as the most prolific artist in German book illustration. Several of the drawings are dated 1786 or 1787, when the young Ramberg was a fellow at the Royal Academy of Arts in London, studying under the American history painter Benjamin West. These drawings are examined and published in their entirety here for the first time. An article published in Amerikastudien in 1978 first mentioned the drawings in the Metropolitan Museum and their obvious connection to the Chodowiecki prints, stating they posed a "puzzling iconographic problem" because the German artist in London appeared to change the viewpoint in at least one case. This article follows up on Jantz's observation. It examines how Chodowiecki's designs all show the perspective of the British or share a "neutral" outsider perspective. I argue that in nearly all cases, Ramberg moves the observer closer to the action, takes on the perspective of the Americans or one sympathetic to them, shows more emotion and movement than Chodowiecki, and thus invites an emotional reaction from the viewer. The question of whether Ramberg planned publication, though, remains unanswered. [ABSTRACT FROM AUTHOR]

Jacques Rancière and J. M. Coetzee, exact contemporaries, are both interested the worker's access to aesthetic experience. In Rancière's case, this involves looking backward to the fact that nineteenth-century workers were able to squeeze time from their working lives for art and literature. In Coetzee's case, however, this problem of distributing aesthetic sensibility turns out to be a matter of looking forward in history, and of his own practice. How is he to write in a way that does not unfairly exempt him from work? [ABSTRACT FROM AUTHOR]

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain art forms, like music and literature, are such that there can be no forgeries that purport to be of an actually existing work—what Lamarque calls "referential forgeries." Put more clearly, any attempt at referentially forging a musical or literary work just results in making a copy of that work. Lamarque motivates this claim via appeal to another distinction, first made by Nelson Goodman, between "allographic" and "autographic" artforms. This article will evaluate Lamarque's argument that allographic literary works are unable to be referentially forged and will find that it does not pass muster. In so doing, the distinction between allographic and autographic artforms will also be called into question. In Section I, I will characterize referential forgery and Lamarque's definition of allographic and autographic artforms. Section II will critically examine Lamarque's argument against the possibility of referential forgery in allographic artforms. Section III will offer a case where it appears that a putatively allographic text's type membership is sensitive to facts about its causal-intentional provenance. This case will serve as pretext for Section IV's identification of this causal-intentional relation with the sanctioning relation of Sherri Irvin (2005). On the basis of considerations treated in Sections I through IV, Section V will question the tenability of the allographic/autographic distinction. [ABSTRACT FROM AUTHOR]

Francisco de Zurbarán’s Crucifixion with a Painter (ca. 1650–55, Museo Nacional del Prado, Madrid) illustrates the devotional aspects of his religious imagery and suggests that artistic production is the result of profound visionary experiences with the artist ultimately acting as a mediator between the divine and the viewer. This article explores the complex intersection of artistic identity and stature and religious devotion and naturalism in evaluating the originality of Zurbarán’s theme. This work’s subject matter also raises essential questions about the relative merits of painting and sculpture that shape one of the core arguments of the paragone in early modern Spain. In addition to the art literature of the Spanish Golden Age, this essay also considers the spiritual texts of the period to establish a theoretical framework for Zurbarán’s art. [ABSTRACT FROM AUTHOR]

The article present literary criticism of on Maggie O'Farrell's novel "Hamnet". It discusses O'Farrell's reimagining of William Shakespeare's life and art in the novel is a critical intervention; challenging established perceptions of Shakespeare's personal life and his work. O'Farrell's approach is likened to Shakespeare's own technique of radical excision; and the concept of creative criticism as a genre born of the desire for a renewed encounter with a text.

Starting with the liberal projects of modern nation-state formation, our territory had to be desertified to imagine, build and sustain this process. To challenge these policies and their narratives, it becomes necessary to rewrite new fictions. We begin by examining the figure of the taperas, legacy of the 19th century modernizing project, as a dynamic component of the landscape and, at the same time, as a critical device waiting to be questioned and exhumed as a surviving trace. In this way, the encounter among the poetic traces in the Quiñihual railway station, the vital traces that inhabit the LincoRln desert's Tapera del desierto and the map that emerges between them, interrupt and destabilize the story imposed in the territory of the province of Buenos Aires. [ABSTRACT FROM AUTHOR]

The article offers information on Carolyn Forché, an American poet and memoirist known for setting her works beyond America. It discusses Forché's life and work; how her international focus challenges the American-centric worldview; scrutinize the country's ideals and historical narratives, especially in a globalized context; Forché's childhood experiences and how they foreshadowed her artistic and literary commitment; and her efforts confront unpleasant truths through her art and activism.

One of the most powerful challenges of being in the world with Others is learning when to be affected by power beyond our wanting and doing. The hermeneutic experience of art highlights the power of letting things show themselves to us and provoke cathartic transformation. The message of the Gospel teaches us the need for sensitivity to divine inspiration and radical openness to Revelation. The power of philosophical thinking can humble us to wonder at the paradoxes and finitude of human wisdom. A close reading of Heraclitus in conversation with Aristotle, Heidegger, and Gadamer faces us with the power of the contradictions and "unstable equilibrium" of the cosmos in which we must ever learn to play with fire. The hermeneutics of power between art, poetry, theology, and philosophy brings into relief the transformation that is called for in the formation (Bildung) of human beings and which exposes the indivisibility and unpredictability of education and life. The groundbreaking insight of the hermeneutic dialectic of power is rediscovering the capacity to let oneself be led, let oneself learn, and let oneself be overpowered and empowered in the inspired and inspiring sway of being between other humans and the divine. [ABSTRACT FROM AUTHOR]

Power is not merely something external or imposed or a problem to be solved. Rather, power is a task calling for understanding as the mode of being in the world with Others. Power has creative and destructive, challenging and inspiring aspects. As 25 nite human beings thrown into a seemingly overpowering world, we 25 nd ourselves in the midst of dynamics and dialectics of power. We have powerful experiences that empower us to respond, to take up the power of faith and the decision to think and be here and now. The hermeneutic experiences of the Gospel, prayer, poetry and art, conversations with ourselves and others, the lives of philosophers, and the power of language all reveal the need for radically responsible approaches to power in lived time. Rather than merely critiquing power, the hermeneutics of power calls for cultivating human attentiveness to power, recognizing the power in and of our lives, and transforming our experiences of power into meaningful events that empower our capacity for timely understanding. [ABSTRACT FROM AUTHOR]

The article focuses on the deficiency in the writing of art history books and the need for more engaging and skillful prose when exploring art. Topics discussed include the challenges of academic art history writing, the value of ekphrasis in capturing artworks' essence, and the potential for students to learn from literary models like poetry and fiction.

In the novels Elizabeth Costello, Slow Man, and Life & Times of Michael K, J.M. Coetzee fashions an ethical mode of "writing photographs" rather than "writing about photographs" via the technique of ekphrasis to recreate in prose several vivid and often unsettling images. Through ekphrasis, the reader becomes what Liliane Louvel terms a "reader/viewer" and is drawn into a palimpsestic encounter in which the image activates collective knowledge and experiences of visual media. The use of ekphrasis comes with unique ethical imperatives. Close analysis enables an exploration into the strategies of writing, such as foregrounding what is unseen, that Coetzee employs to respond to such concerns. [ABSTRACT FROM AUTHOR]

This article explores some of the dynamics related to ekphrasis between Late Antiquity and the Middle Ages, focusing particularly on the often problematic, but always fruitful, interplay between the object and its description. My interest lies, more specifically, in what has often been called 'reverse ekphrasis', that is, the process through which the figurative arts engage in producing an equivalent of the verbal text, instead of the other way around. The analysis is structured around a series of case studies related to King Solomon and to the rich artistic patronage attributed to him by the Bible—a patronage that not only was exploited for centuries to create a powerful imagery around kingship, but also had a fruitful effect on the creation of artefacts. [ABSTRACT FROM AUTHOR]

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The Arab uprisings ushered an unrealistic level of euphoria across the Middle East and North Africa (MENA); however, ten years on, most of the same dictatorships continue to rule and reactionary forces have only become more powerful. For many, the Arab street has become a more dangerous, even dystopic, place. With democracy curtailed and economic prosperity an unlikely possibility in the near future, some writers and artists in the MENA region are turning away from the nightmares of the present towards the futuristic lands of science fiction and fantasy, imaginary places where they have the freedom to openly reflect upon their predicament. Indeed, it is reported that dystopian literature in Arabic fiction has proliferated in recent years. The same trend can be seen in art: a 2016 exhibition in London billed itself as 'a dazzling journey into the future of Palestine—through both utopian and dystopian visions of what lies ahead'. In this article, I first briefly detail the recent oppression in Egypt and Palestine—what I call the dystopian present—including against artists and writers. I then look at the contemporary role of art and literature as social critique. [ABSTRACT FROM AUTHOR]

This article establishes the works of women poets in the UK, especially those of non-white and mixed-race ancestries, as major players in poetic ekphrasis. Ekphrasis has been defined as 'the verbal representation of a visual representation' (Heffernan 3). Building on the critical studies of the ekphrases by twentieth-century women poets, this article recognizes the increasingly multicultural landscape of contemporary British ekphrastic poetry and engages in detailed studies of the ekphrastic poems from Grace Nichols's Picasso, I Want My Face Back (2009) and Pascale Petit's What the Water Gave Me: Poems after Frida Kahlo (2010). The two case studies demonstrate how women poets of non-white and mixed-race ancestries return to engaging with art from a diasporic perspective or art from a foreign culture and to exploring the potential and limits of art as a life-, self- and trauma-transmuting agent. The article simultaneously reveals the diverse purposes of ekphrasis in contemporary poetry, as seen in the ekphrastic practices of Nichols, Petit and other women poets. [ABSTRACT FROM AUTHOR]

The article discusses how do feministand queer activist imaginaries respond to, initiate, mitigate, enable and complicate the ongoing process of radical transformation in the world .Topics include analyses of how the famous feminist expression in the era of climatic, pandemic, economic and political crises, particularly in the European context; and reflects on women's courageous resistance identifies as ‘gender apartheid' in Afghanistan with transformative politics in writing, and art.

A literary criticism of the essay "Para una teoria del arte," written by Macedonio Fernández is presented. It examines Fernández's place in art history, the general theory of art discussed in the essay, critics' view of the role of Fernández's literary project in art history, and Fernández's conceptualization of art in terms of emotion.

The article explores the commitment of historian Bernard Bailey in teaching after his retirement through the course, History 2910. Topics discussed include the reason of Bailey for accepting the challenge of teaching after his retirement as requested by Harvard University's History department chair William Kirby, the syllabus used by Bailyn in the class in the fall of 1996, and Bailyn's introduction of history as a form of literary art.

The article focuses on work of Vincent van Gogh who was a cosmopolitan with a borderless mind and substantial overseas experience. It mentions prose literature and art were inextricably intertwined in his mind and British literature that he read avidly and extensively was no exception. It also mentions need to assume that "Silas Marner" to which he was particularly attached inspired his art, leaving a mark on his creations in one way or another.

The article discusses the importance of poetry and its meaning, purpose, and significance. It highlights that poetry offers freedom-not the promise, or the rhetoric, or the image of freedom, but the real-time experience, the sensation, of transcending constrictions of place, person, and circumstance. It also notes that once to feel truly free is to acquire an impatience, an intolerance even, of oppressions great and small.

This introduction provides an overview of this Roundtable on Dante Gabriel Rossetti and music. In addition to situating the issue in relation to previous studies of Rossetti and music, poetry and art, and suggesting some topics for future research, a summary of each article is provided, outlining its content and significance. [ABSTRACT FROM AUTHOR]

Analyzing a literary work is often associated with a search for reminiscences in the result of creative process. Different methods and approaches do not always lead to new sufficient conclusions. In our opinion, the approach through the consideration of the aesthetic worlds reveals a different side of the study. Modern strategies of art analysis open up many new things in the knowledge of the artistic and aesthetic process. Our method involves shifting the perspective to the relationship between idea and form in a literary work, the question of the aesthetic basis, the object of beauty and the philosophical basic postulates in each of them. Consideration of the use of artistic means required to reflect these ideas. It is necessary to pay special attention to the personality of the author: psychoanalysis in the work is focused on the psychology of the author, initiating creativity and realized in the images of art. The conclusion lists the components that will be taken into account in the analysis of a particular work and in comparative studies, regardless of the literary period in which the work was written. Good results are expected in the analysis of modern literary works, unusual in idea or form, and in the comparative analysis of works whose similarity is difficult to determine or weak. The results of the study can be used in lectures and practical classes, seminars in high school on literature or literary studies. [ABSTRACT FROM AUTHOR]

The article analyzes the supposed influence of the Bosco's painting in the book by Lope de Vega, Rimas humanas y divinas del licenciado Tomé de Burguillos, refuting the scholar Sánchez Jiménez and denying a relationship between the pictorial work of the one and the poetics of the other. [ABSTRACT FROM AUTHOR]

This paper analyzes the issue of visuality in Lorenzo Garcia Vega's poetry, focusing on its relationships to visual arts. As I show, the visuality of Garcia Vega's poetry often presents itself under the form of painting hypothesis, i.e., the narration of conjectural paintings. Such narrated paintings--frequently unfinished--aim to bring to the mind of the reader the immediacy and concreteness of what the poet-painter observes, but also that of what he imagines. In this sense, I argue that Garcia Vega's poetry shares with certain avant-garde tendencies their non-representational character, interpreting his focus on the most concrete aspects of our visual field--such as geometrical forms and colors--as a strategy to evade fiction. [ABSTRACT FROM AUTHOR]

This essay examines the work of twenty-first century Somali Anglophone writers and artists, analyzing how they confront the connected experiences of displacement, migration, and surveillance. The work of Warsan Shire, Diriye Osman, Ladan Osman, and Ifrah Mansour embodies place-based transnationalisms that resist stereotypical media and political representations of Somali refugees as invasive and dangerous, especially gendered clichés of Somali, Muslim men as inherently violent and Somali, Muslim women as universally oppressed. Through writing, art, and performance, these works reveal how the state prevents communities from caring for one another through state apparatuses and articulate instead a right to mutuality and caretaking. [ABSTRACT FROM AUTHOR]

In his comic Rückwärtsland (2021), Henning Wagenbreth uses the possibilities of literature and art to stop and reverse time. On the one hand, this calls into question existing (pictorial) conventions. On the other hand, the retrograde operations achieve an absurdly humorous effect on a linguistic and pictorial level. This article illustrates on which narrative techniques the illustrator calls in order to discuss philosophical questions about existing causal relation. Furthermore, impulses for didactic follow-up actions are offered. [ABSTRACT FROM AUTHOR]

Comics are closely related to literature and the visual arts. However they are an independent art form. The aim of this article is to use selected examples to show how visual storytelling functions and especially what reception requirements they afford. At the same time the content of the selected comics opens up a perspective on the visual arts, its significance, its development, its possibilities of effect and meaning. Teaching methods accompany the reviewed comics and offer suggestions for practical follow-up activities – from elementary to secondary school. [ABSTRACT FROM AUTHOR]