Table of Contents
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