![]() ![]() My contention in this article is that “Images” is informed by the aporetic tension between visibility and visuality, savoir sans voir ou voir sans savoir. Pleading for a reopening of the case of the image after the pronouncements of art history had seemingly sealed it, Didi-Huberman wields concepts such as the splitting of the image, that are clearly indebted to the Lacanian analysis of the scission between the eye and the gaze, a caesura to which Didi-Huberman will return in a subsequent essay, Ce que nous voyons, ce qui nous regarde. It is the generative propensity of the image, the image as primer, that I propose to analyze in this article, starting from the distinction art historian Georges Didi-Huberman introduces between the visible and the visual in his ground-breaking essay Devant l’image: question posée aux fins d’une histoire de l’art. “Images” contains several “moments of loud clarity” – Jean-Jacques Lecercle’s own phrase for such unsettling insights (35) – which the child-focalizer registers and the grown-up narrator re-envisions as moments of writerly inception. “Images” is one of the childhood stories Alice Munro wrote especially in view of the publication of her first collection, Dance of the Happy Shades (1968), which gathered a dozen of the pieces she had published in various magazines, notably The New Yorker, over the previous two decades. a faithful reproduction of external reality) within a twentieth century aesthetics.Īlice Munro’s short stories rarely start from a preconceived idea or plan, but more frequently from a striking image leading to a “queer bright moment,” in the oxymoronic phrase she coined to capture the visual warp out of which her stories proceed (Munro Moons xv). All the verbal images presented and discussed in this article come from Wilfred Owen, Marianne Moore and Philip Larkin: three poets who have effectively exploited the potential of realist mimesis (i.e. In doing so, I draw inspiration from the complementary attempt of Kress and Van Leuween, who in Reading Images: the Grammar of Visual Design (2006 ) propose an array of correspondences between visual strategies and grammatical structures. image-scenes) on the other, I attempt to map semantico-grammatical variables onto perceptual effects, focusing on shooting distance and image resolution. My approach is twofold: on the one hand, I identify a 'nuclear' image on the basis of semantic and syntactic criteria-this I call the image-frame as opposed to more extensive realizations (i.e. ![]() This paper addresses and undermines the latter assumption and, in doing so, sets out the basis for a stylistic model of verbal imagery. As a consequence of this, the verbal image also appear substantially independent from linguistic forms, which makes it problematic for stylistic analysis. one may have a more visual or a more auditory memory, or give emphasis to more abstract, propositional aspects of a text). Yet, its practical use is fraught with impressionism as the verbal image appears based on a relativist ontology that varies with readerly differences, both intrinsic and strategic (e.g. ![]() The notion of imagery is central to literary criticism as it underpins some of the most palpable experiences we have when reading fictional literary texts, prose and verse alike.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |