Cuprins
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
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