Frontmatter — Acknowledgments — Contents — Introduction: Ekphrasis, Iconotexts, and Intermediality – the State(s) of the Art(s) — Ekphrasis and Theories of Reading Visual Representations — Iconolâtrie et iconoclastie de l’écriture libertine — Ekphrasis as Art Criticism: Diderot and Fragonard’s “Coresus and Callirhoe” — Ekphrasis and the Mimetic Crisis of Romanticism — Ecritures de l’image chez Théophile Gautier — Icono texts: The Eighteenth Century — Watteau: The Aesthetics of Pleasure — Sterne and Fragonard: “The Escapades of Death” — The Harlot, Her Father, and the Parson: Representing and Interpreting Hogarth in the Eighteenth Century — La mise en scène de la table de travail: poétologie et épistémologie immanentes chez Guillaume-Thomas Raynal et Alexander von Humboldt — Icono texts: The Nineteenth Century — The Strategic Withdrawal from Ekphrasis in Jane Austen’s Novels — Appropriating Botticelli: English Approaches 1860–1890 — Entering the Museum of Words: Browning’s “My Last Duchess” and Twentieth-Century Ekphrasis — Oscar Wilde’s “Impression du matin” – an Intermedial Reading — Iconotexts: Caricature — Text as Design in Gillray’s Caricature — The Battle of the Signs: Robert Crumb’s Visual Reading of James Boswell’s “London Journal” — Bibliography — List of Illustrations — Notes on Contributors — Index — Colour Plates — 418-420