Pub Date : 2024-06-27DOI: 10.1080/02666286.2024.2330335
Hannes Bajohr
This article discusses the implications of multimodal artificial intelligence (AI), including image generators such as DALL·E, for the traditional concept of ekphrasis. Using ekphrasis as an exampl...
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Pub Date : 2024-06-27DOI: 10.1080/02666286.2023.2221170
David Clarke
This study considers artworks from across the modern and contemporary period (with a focus on the 1940s onwards) where writing is presented as incomprehensible to the viewer. This can occur, for in...
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Pub Date : 2024-06-27DOI: 10.1080/02666286.2024.2335851
Alisa van de Haar
Rebuses—visual riddles that replace words or syllables by images—were highly popular in early modern Europe. Many broadsheets containing rebus poems were printed in France and Germany in the late s...
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Pub Date : 2024-05-23DOI: 10.1080/02666286.2023.2278127
Dorothée Polanz
This essay analyzes the Netflix-produced French series Lupin dans l’ombre d’Arsène, showing the exhaustion of the fidelity question. In fact, the television show is not so much an updated transmedi...
这篇文章分析了 Netflix 制作的法国电视剧《鲁邦--亚森的肤色》（Lupin dans l'ombre d'Arsène），展示了忠实性问题的枯竭。事实上，这部电视剧与其说是对《鲁邦传奇》的更新移植，不如说是对《鲁邦传奇》的...
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Pub Date : 2024-05-23DOI: 10.1080/02666286.2023.2278124
Carsten Strathausen
This essay examines the metamorphic nature of Franz Kafka’s writing. I focus in particular on the unpublished manuscripts Kafka left behind, which reveal the structural instability of his texts and...
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Pub Date : 2024-05-23DOI: 10.1080/02666286.2023.2278126
Timothy Lomeli
This article examines the 2005 film adaptation of Dany Laferrière’s 1997 collection La Chair du maître, entitled Vers le sud, directed by Laurent Cantet. In La Chair du maître, Laferrière writes sh...
本文探讨了 2005 年由洛朗-康泰（Laurent Cantet）执导的改编自达尼-拉费里埃尔（Dany Laferrière）1997 年作品集《La Chair du maître》的电影《Vers le sud》。在 La Chair du maître 中，Laferrière 写道...
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Pub Date : 2024-05-23DOI: 10.1080/02666286.2023.2278122
Jennifer Boum Make, Verena R. Kick
Published in Word & Image: A Journal of Verbal/Visual Enquiry (Vol. 40, No. 1, 2024)
发表于《文字与图像》：语言/视觉探究期刊》（第 40 卷，第 1 期，2024 年）
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Pub Date : 2024-05-23DOI: 10.1080/02666286.2023.2278125
Brandy E. Wilcox
In the summer of 2020, Walt Disney Theme Parks announced plans to reimagine the popular attraction “Splash Mountain” in the theme of the 2009 feature-length animated film The Princess and the Frog....
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Pub Date : 2024-05-23DOI: 10.1080/02666286.2023.2278123
Guy Spielmann
Although “Adaptation Studies” appears to constitute a fully fledged disciplinary field, with a solid theoretical base resting on a well understood and precisely defined phenomenon, it has struggled...
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Pub Date : 2023-11-15DOI: 10.1080/02666286.2023.2184129
Lucy Potter
Abstract I argue that Part 2 of Christopher Marlowe’s Tamburlaine the Great (1587; published 1590) upends the narrative operations of ekphrasis at work in Part 1 to expose Sir Philip Sidney’s ‘brazen world’ progressively. I track Part 2’s descent into this world through rhetorical insufficiencies that generate flawed ekphrases, which lack the requisite enargeia (vivid description) to be seen in the mind’s eye. Particular attention is paid to Zenocrate’s death scene as well as Tamburlaine’s preservation of her body in a gold-lined coffin. I argue that the coffin is a symbol of Tamburlaine’s rhetorical inadequacy and an aesthetic time capsule in which Marlowe suspends ekphrasis. This suspension complicates the ways in which audiences ‘see’, and is the site of a contest between ‘poetic’ (ekphrastic) and ‘dramatic’ (spectacular) ways of seeing. Through the ekphrastic interaction between the Tamburlaine plays, Marlowe challenges dramatists to revive the operations of ekphrasis in new ways. I examine William Shakespeare’s response to this challenge in The Winter’s Tale (1611; published 1623), arguing that he reconciles the poetic and dramatic ways of seeing to create a stage-picture of the revival of ekphrasis in the coming to life of Hermione’s statue.
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