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Vol 14, No 1 (2013)
Beyond all Bearing. (Con)Figurations of the Intolerable, part 1
Editors: Arne De Winde, Sientje Maes & Bart Philipsen
Table of Contents
Thematic Cluster
| Beyond all Bearing. Bespeaking the Intolerable | |
| Arne De Winde, Sientje Maes, Bart Philipsen | 1-4 |
| "A Heart That Can Endure." Blumenberg's Anthropology of Solace | |
| Nadia Sels | 5-18 |
| In Praise of Shadows. Commemorative Images and the Atomic Bomb | |
| Stéphane Symons | 19-34 |
| Transcending Trauma. Thomas Lehr's 9/11 Novel 'September. Fata Morgana' | |
| Silke Horstkotte | 35-46 |
| The Obtuse Space of Carl Theodor Dreyer's 'La Passion de Jeanne d'Arc'. A Visual-Essayistic Approximation | |
| Arnout De Cleene, Michiel De Cleene | 47-62 |
| In the Fishtank. The Biopolitical Imagination in David Foster Wallace's 'This Is Water' and 'The Pale King' | |
| Pieter Vermeulen | 63-75 |
| Being Normal / Not Being Normal. Two Types of Unbearably-Attractive in Literature, Film and Television | |
| Rolf Parr | 76-88 |
| Guy Fawkes in the 21st Century. A Contribution to the Political Iconography of Revolt | |
| Oliver Kohns | 89-104 |
Various Articles
| De 'Fraise et chocolat' à 'Buzz-moi' d’aurélia aurita [sic]. D’un journal érographique à la mise en scène d’une mise à nu dans le contexte du « tout dire » | |
| C(h)ris Reyns-Chikuma, Marine Gheno | 105-129 |
| Locating Gulliver. Unstable Loyalism in James Gillray’s 'The King of Brobdingnag and Gulliver' | |
| James Baker | 130-147 |
Review Articles
| 'In/Fidelity. Essays on Film Adaptation.' David L. Kranz & Nancy C. Mellerski, eds. | |
| Thomas Van Parys | 148-153 |
| 'Comics versus Art.' Bart Beaty | |
| Gabriel Tremblay-Gaudette | 154-156 |
Vol 13, No 4 (2012)
Figurations iconographiques de l'écrivain/Iconographic figurations of the writer
Editors: David Martens & Anne Reverseau
Table of Contents
Thematic Cluster
| La Littérature dévisagée. Figurations Iconographiques de l'écrivain au XXe siècle | |
| David Martens, Anne Reverseau | 1-10 |
| The Eye of the Hare. Photographic Portraits of Max Jacob | |
| Alexander Dickow | 11-32 |
| « Toi mon sublime moi réalité de mon image dans la réalité du poème » À propos des autoportraits de Pierre Albert-Birot | |
| Anne Reverseau | 33-47 |
| Realistic distortions, subject specific style, and the relative representational range of drawing and photography. Oskar Kokoschka on Karl Kraus (and vice-versa) | |
| Klaus Speidel | 48-69 |
| Qui se ressemble se rassemble-t-il? Lecture de quelques portraits d’André Breton, entre fragment et totalité | |
| Noémie Suisse | 70-82 |
| Portraits de l’écrivain en peintre, ou du peintre en écrivain Abraham Schwarz-Abrys | |
| Anouck Cape | 98-111 |
| Vers l’autobiographie New Look de Roland Barthes. Photographies, scénographie et réflexivité théorique | |
| Magali Nachtergael | 112-128 |
| Une galerie de glaces aux reflets qui bifurquent. Iconographies de Benjamin Jordane | |
| David Martens | 129-153 |
| Iconographies de l’écrivain au XXe siècle. Usages et enjeux : un portrait en pied | |
| David Martens, Anne Reverseau | 154-168 |
Various Articles
| Švankmajer, Sade et les possibilités infinies de la viande. Une lecture de Lunacy | |
| Audrey Lemieux | 169-180 |
| More than WORDS. Semantic Continuity in Moving Images. | |
| Janina Wildfeuer | 181-205 |
| The Slow Demise of Modernism, Aleatory Keepsakes, ’70s Trauma and Looking through the Glass Darkly in Colum McCann’s Let the Great World Spin | |
| Sandra Singer | 206-220 |
| Picturing Transcendence | |
| Maria Giulia Dondero | 221-234 |
Review Articles
| Linda Goddard, Aesthetic Rivalries. Word and Image in France, 1880- 1926 | |
| Jan Baetens | 235-237 |
| Mélanie van der Hoorn Bricks & Ballons. Architecture in Comic-Strip Form | |
| Jan Baetens | 238-239 |
| Ari J. Blatt Pictures into Words. Images in Contemporary French Fiction | |
| Jan Baetens | 240-241 |
| Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Pressner, Jeffrey Schnapp Digital_Humanities | |
| Jan Baetens | 242-244 |
Vol 13, No 3 (2012)
Neo-baroque Today 2
Editors: Ralph Deconinck, Karel Vanhaesebrouck, Christian Biet, Agnès Guiderdoni-Bruslé, Jack Post
Table of Contents
Thematic Cluster
| Le cycle autrichien du Warme Winkel. Performance néo-baroque et crise de la représentation | |
| Esther Gouarné | 1-16 |
| The Gesture of Extension. Posing (as) Las Meninas in Velázquez and Eve Sussman | |
| Tatiana Senkevitch | 17-34 |
| Mix, DJing et Night-clubbing : résurgences d’une culture « néo-baroque » ? | |
| Florence Filippi, Pierre Jabot | 35-53 |
| Massacre de Wolfgang Mitterer, un Opéra baroque aujourd’hui ? | |
| Anne-Marie Le Baillif | 54-65 |
| Allegorising Gerard ter Borch. Research, Appropriation and the Baroque Impulse in the Work of Karin Hanssen | |
| Kurt Vanhoutte | 66-83 |
Various Articles
| The Visual and Multimodal Representation of Time in Film, or How Time is Metaphorically Shaped in Space | |
| Maarten Coëgnarts, Peter Kravanja | 85-100 |
| A line going out for a walk. On the rhetoric of walking in Francis Alÿs’s oeuvre | |
| Elke Couchez | 101-114 |
| Balthus, Artaud. Lecture et mise en jeu | |
| Matthias De Jonghe | 115-124 |
| Rendre sensible l'infigurable. Le point de vue externe opacifié dans les films de Michael Haneke | |
| Ralitza Bonéva | 125-140 |
| Barthes’s Religious Substance. Photography and Acheiropoietos | |
| Keith Broadfoot | 141-154 |
| What Can a Film Make of a Book? Seeing literature through Apocalypse Now and Barry Lyndon | |
| Donata Meneghelli | 155-166 |
Review Articles
| Comics Therapy - Jared Gardner’s Projections: Comics and the History of Twenty-First-Century Storytelling | |
| Charlotte Pylyser | 167-170 |
| Hanna Rose Shell, Hide and Seek: Camouflage, Photography, and the Media of Reconnaissance | |
| Jan Baetens | 171-172 |
| Mélusine À belles mains. Livre Surréaliste - livre d'artiste Cahiers du Centre de recherche sur le Surréalism n.XXXII | |
| Sarah Bonciarelli | 173-176 |
| Regarding the voice of images. A review of New Perspectives in Iconology. Visual Studies and Anthropology | |
| Vlad Ionescu | 177-180 |
Vol 13, No 2 (2012)
Neo-baroque Today 1
Editors: Ralph Deconinck, Karel Vanhaesebrouck, Christian Biet, Agnès Guiderdoni-Bruslé, Jack Post
Table of Contents
Thematic Cluster
| Introduction | |
| Ralph Dekoninck, Karel Vanhaesebrouck, et al. | 1-4 |
| Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance | |
| Christophe Van Eecke | 5-25 |
| The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows. | |
| Jack Post | 26-52 |
| Cinematic Neo-Mannerism or Neo-Baroque? Deleuze and Daney | |
| Sjoerd van Tuinen | 53-75 |
| Re-visioning the Spanish Baroque: The Ekphrastic Dimension of Constancia and Other Stories for Virgins by Carlos Fuentes | |
| Reindert Dhondt | 76-94 |
| A Neo-Baroque Tale of Jesuits in Space: Mary Doria Russell’s The Sparrow (1996) | |
| Daniel J. Worden | 95-116 |
Various Articles
| A Cinema of Modernist Poetic Prose: On Antonioni and Malick | |
| Peter Verstraten | 117-132 |
| Metaphors in Buster Keaton’s Short Films | |
| Maarten Coëgnarts, Peter Kravanja | 133-146 |
Review Articles
| Charles Hatfield, Hand of Fire. The Comics of Jack Kirby | |
| Jan Baetens | 147-149 |
Vol 12, No 4 (2011)
Introduction to The Story of Things: reading narrative in the visual (part 2)
Table of Contents
Thematic Cluster
| Introduction | |
| Jonathan Carson, Rosie Miller | 1-3 |
| Rephrased, Relocated, Repainted: visual anachronism as a narrative device | |
| Gyöngyvér Horváth | 4-17 |
| Lost Children, the Moors & Evil Monsters: the photographic story of the Moors murders | |
| Helen Pleasance | 18-38 |
| Read You Like A Book: Time and Relative Dimensions in Storytelling | |
| Mike Nicholson | 39-42 |
| The Pre-Narrative Monstrosity of Images: how images demand narrative | |
| William Brown | 43-55 |
| Towards Ephemeral Narrative | |
| Gavin Parry, Jacqueline Butler | 56-77 |
Various Articles
| Portrait of the Opportunist as Circus Acrobat: Félicien Champsaur's Entrée de clowns | |
| Jennifer Forrest | 78-114 |
| Depardon, le DATAR et le paysage | |
| Raphaële Bertho | 115-129 |
| Historicising achronism. Some notes on the idea of art without history in David Carrier's The Aesthetics of Comics. | |
| Jan Baetens | 130-145 |
Review Articles
| Compte rendu de Myriam Watthee-Delmotte, Littérature et ritualité. Enjeux du rite dans la littérature française contemporaine | |
| Laurence van Nuijs | 146-150 |
Vol 12, No 3 (2011)
The Story of Things: reading narrative in the visual
Table of Contents
Thematic Cluster
| Introduction | |
| Jonathan Carson, Rosie Miller | 1-4 |
| Relating the Story of Things | |
| Patricia Allmer | 5-21 |
| Scrapbook (a visual essay) | |
| Jonathan Carson, Rosie Miller | 22-28 |
| Seeing the Past/Reading the Past | |
| Karen Bassi | 29-50 |
| Ephemeral Art: Telling Stories to the Dead | |
| Mary O’Neill | 51-65 |
| European Locations Dreamed with a Limited Imagination | |
| Samantha Donnelly | 66-70 |
Various Articles
| Belgian Photography: Towards a Minor Photography. | |
| Jan Baetens, Hilde Van Gelder, Mieke Bleyen | 71-80 |
| The surrealist book as a cross-border space: The experimentations of Lise Deharme and Gisèle Prassinos | |
| Andrea Oberhuber | 81-97 |
| The Power of Tableaux Vivants in Zola: The Underside of the Image | |
| Arnaud Rykner | 98-112 |
| Spitting Image and Pre-Televisual Political Satire: Graphics and Puppets to Screens | |
| Kiene Brillenburg | 113-136 |
Review Articles
| Sarah Sepulchre, dir. Décoder les séries télévisées. | |
| Jan Baetens | 137-139 |
Vol 12, No 2 (2011)
Memory Screens
Table of Contents
Thematic Cluster
| Introduction | |
| Teresa Forde | 1-2 |
| Remixing Memory through Home Movies | |
| Shaun Wilson | 3-16 |
| Video Installation, Memory and Storytelling: the viewer as narrator | |
| Diane Charleson | 17-30 |
| Spectral bodies, temporalised spaces: Agnès Varda's motile gestures of mourning and memorial. | |
| Jenny Chamarette | 31-49 |
| Television and memory: history programming and contemporary identities | |
| Erin Bell | 50-65 |
| Television Dramas as Memory Screens | |
| Teresa Forde | 66-82 |
| The Lives of Others: re-remembering the German Democratic Republic. | |
| Margaret Montgomerie, Anne- Kathrin Reck | 83-95 |
| Nostalgic [re]remembering: film fan cultures and the affective reiteration of popular film histories. | |
| Nathan Hunt | 96-117 |
Various Articles
| Cinema, Contingencies, Metaphysics | |
| Peter Kravanja | 118-124 |
Review Articles
| Hillary Chute's Ambivalent Idiom of Witness | |
| Charlotte Pylyser | 125-126 |
| Naissances de la bande dessinée de William Hogarth à Winsor McCay | |
| Pascal Lefèvre | 127-128 |
Vol 12, No 1 (2011)
Visual Language of Manga
Guest editors: Hans Coppens, Nele Noppe
Table of Contents
Thematic Cluster
| Subverting masculinity, misogyny, and reproductive technology in SEX PISTOLS | |
| Jessica Bauwens-Sugimoto | 1-18 |
| Mazohizumu no mon: Masochistic and Sadistic Representations of Women in Japanese Exploitation Films and Reidissu komikku. | |
| Emerald King | 19-31 |
| Cream Soda. The rhythm of everyday life | |
| Eleonora Benecchi | 32-62 |
| The Phenomenology of Contemporary Mainstream Manga | |
| Valérie Cools | 63-82 |
| Lolicon: The Reality of ‘Virtual Child Pornography’ in Japan | |
| Patrick W. Galbraith | 83-119 |
| A different kind of cultural frame: An analysis of panels in American comics and Japanese manga | |
| Neil Cohn | 120-134 |
| La double-page chez Hirohiko Araki : l’ubris faite norme | |
| Aurélien Pigeat | 135-149 |
| On The Iconic Difference between Couple Characters in Boys Love Manga | |
| Febriani Sihombing | 150-166 |
| Language as the visual: Exploring the intersection of linguistic and visual language in manga | |
| Giancarla Unser-Schutz | 167-188 |
| Réflexions sur le manga éducatif | |
| Julien Bouvard | 189-205 |
| Understanding scanlation: how to read one million fan-translated manga pages | |
| Lev Manovich, Jeremy Douglass, William Huber | 206-228 |
| Learning from Monsters: Mizuki Shigeru's Yōkai and War Manga | |
| CJ (Shige) Suzuki | 229-244 |
Various Articles
| Pour une lecture postcoloniale de la bande dessinée Ile Bourbon 1730 (2006) de Appollo et Lewis Trondheim. | |
| C(h)ris Reynschi-Chikuma | 245-271 |
| Le récit dans l’image : séquence, intrigue et configuration | |
| Raphaël Baroni | 272-294 |
| La mise en image de La Chaumière indienne par Léon Curmer | |
| Els Jongeneel | 295-317 |
Review Articles
| David Martens, L’Invention de Blaise Cendrars. Une poétique de la pseudonymie, Paris, Honoré Champion, «Cahiers Blaise Cendrars», no. 10, 295 p. | |
| Jérôme Meizoz | 318-319 |
Vol 11, No 4 (2010)
Photography and the book
Table of Contents
Thematic Cluster
| Introduction | |
| Alexander Streitberger | 1-3 |
| Marcel Mariën’s 'Woman Ajar'. A case of minor photography? | |
| Mieke Bleyen | 4-19 |
| Dick Jewell’s Found Photos | |
| Ian Walker | 20-34 |
| Des images vidées ? Les livres de l'« Archiv Peter Piller » | |
| Ulrike Matzer | 35-49 |
| Peter Downsbrough. Espaces entre livre et photographie | |
| Alexander Streiberger | 50-66 |
| Le dépliant : un format pour des images recomposées | |
| Didier Mathieu | 67-80 |
| Hôtel Latone. La photographie en déplacement | |
| Olivier Mignon | 81-97 |
| Wolfgang Tillmans and the Wandering Image | |
| David Evans | 98-112 |
| Déchirer la fiction. Le livre d’artiste pour apprendre à lire la photographie | |
| Leszek Brogowski | 113-137 |
| Alfred Laoureux Monsieur 2003 Photos | |
| Jacques Lennep | 138-148 |
| Hans-Peter Feldmann / L’évidence du non référé | |
| Michel Baudson | 149-157 |
Various Articles
| Photographing Fashion: a critical look at The Sartorialist | |
| Esther Rosser | 158-170 |
| Stratégies éditoriales et représentations de l'homosexualité dans la bande dessinée lesbienne et gay francophone | |
| Samuel Minne | 171-184 |
| Le narrateur implicite dans la bande dessinée. La transformation du style indirect libre dans deux adaptations en bandes dessinées de Madame Bovary | |
| Kai Mikkonen | 185-207 |
Review Articles
| Todd Berliner. Hollywood Incoherent. Narration in Seventies Cinema. | |
| Pascal Lefèvre | 208-209 |
Vol 11, No 3 (2010)
Hauntings I: Narrating the Uncanny
Table of Contents
Thematic Cluster
| Introduction | |
| Fabio Camilletti, Martin Doll, Rupert Gaderer, Jan Niklas Howe, Catherine Smale | 1-6 |
| Visuality – Textuality: An Uncanny Encounter | |
| Elisabeth Bronfen | 7-24 |
| Present Perfect. Time and the Uncanny in American Science and Horror Fiction of the 1970s (Finney, Matheson, King) | |
| Fabio Camilletti | 25-41 |
| Familiarity and no Pleasure. The Uncanny as an Aesthetic Emotion. | |
| Jan Niklas Howe | 42-63 |
| Uncanny Love: Schelling’s Meditations on the Spirit World | |
| Laurie Johnson | 64-86 |
| “Er hatte eine Wasserscheu vor Gespenstergeschichten”: The Ghost Story in Late Eighteenth-Century Germany in the Light of Jean Paul’s Novel Die Unsichtbare Loge | |
| Elisa Leonzio | 87-98 |
| The Hero and His Shadow | |
| Simona Micali | 99-110 |
| The Unsettling, Urban Uncanny: The Case of Secured Settlements | |
| Sandra Evans | 111-121 |
Various Articles
| Documentative Polaroid Project on Bahrain: exploring the elements of mediating sentiment | |
| Sheyma Buali | 122-127 |
| Cats, Postdramatic Blockbuster Aesthetics and the Triumph of the Megamusical | |
| Vagelis Siropoulos | 128-145 |
Review Articles
| Landmasses and Railways, Bertrand Fleuret | |
| Jan Baetens | 146-149 |
| Petite histoire du magazine Vu (1928-1940). Entre photographie d’information et photographie d’art, Danielle Leenaerts | |
| Jan Baetens | 150-153 |
Vol 11, No 2 (2010)
New Horizons in the Analysis of US Ethnic and Postcolonial Film and Animation Narrative
Table of Contents
Thematic Cluster
| New Horizons: Cognitive and Narrative Approaches to US Ethnic and Postcolonial Film, Animation, Graphic Novel, and the Arts | |
| Frederick Luis Aldama | 1-3 |
| Anger, Cognition, Ideology: What Crash Can Show Us About Emotion | |
| Sue J. Kim | 4-17 |
| A Different Postcolonialism: the Cultural Ethics of Yasujiro Ozu’s Late Spring | |
| Patrick Colm Hogan | 18-37 |
| Adapting The Joy Luck Club: Thematic Emphasis through Form | |
| Wanlin Li | 38-48 |
| The Sacred and the Profane in Omkara: Vishal Bhardwaj’s Hindi Adaptation of Othello | |
| Lalita Pandit Hogan | 49-62 |
| The District! and the Autonomous Story Zone | |
| Terence DeToy | 63-77 |
| Ari Folman’s Waltz With Bashir and the Limits of Abstract Tragedy | |
| Nicholas Hetrick | 78-91 |
| I Focalize, You Focalize, We All Focalize Together: Audience Participation in Persepolis | |
| Lizzie Nixon | 92-99 |
| Lost in the Gutters: Ethnic Imaginings in Adrian Tomine’s Shortcomings | |
| Hye Su Park | 100-110 |
| New Approaches to Chicana/o Art: The Visual and the Political as Cognitive Process | |
| Guisela Latorre | 111-122 |
| Assessing Empathy: A Slumdog Questionnaire | |
| Hannah Chapelle Wojciehowski | 123-143 |
| Dancing Across-Cultures in Eitan Anner’s Half Russian Story | |
| Klarina Priborkin | 133-149 |
Various Articles
| "Oh no, not again": representability and a repetitive remark | |
| Matt Tierney | 150-164 |
| Evita, the Society of the Spectacle and the Advent of the Megamusical | |
| Vagelis Siropoulos | 165-176 |
| A Story Told by a Picture | |
| Yeshayahu Shen, Efrat Biberman | 177-197 |
Review Articles
| Review: Fabio Gadducci, Notes on the Early Decades of Italian Comic Art | |
| Marco Pelleteri | 198-201 |
Vol 11, No 1 (2010)
Chris Marker (II)
Table of Contents
Thematic Cluster
| Introduction | |
| Peter Kravanja | 1-2 |
| The Imaginary in the Documentary Image: Chris Marker’s Level Five | |
| Christa Blümlinger | 3-15 |
| Montage, Militancy, Metaphysics: Chris Marker and André Bazin | |
| Sarah Cooper | 16-28 |
| Statues Also Die - But Their Death is not the Final Word | |
| Matthias De Groof | 29-46 |
| Autour de 1968, en France et ailleurs : Le Fond de l'air était rouge | |
| Sylvain Dreyer | 47-63 |
| “If they don’t see happiness in the picture at least they’ll see the black”: Chris Marker’s Sans Soleil and the Lyotardian Sublime | |
| Sarah French | 64-81 |
| Crossing Chris: Some Markerian Affinities | |
| Adrian Martin | 82-91 |
| Petit Cinéma of the World or the Mysteries of Chris Marker | |
| Susana S. Martins | 92-106 |
Various Articles
| Blake et le Laocoön : pour une poétique du Mouvement | |
| Jérémy Lambert | 107-117 |
| Multimodality and its Modes in Novelizations | |
| Heidi Peeters | 118-129 |
Review Articles
| Rita Raley - Tactical Media | |
| Jan Baetens | 130-131 |
| Maria Giulia Dondero, Le sacré dans l’image photographique. | |
| Jean Fisette | 132-136 |
| Nicole Matthews & Nickianne Moody, eds., Judging a Book by Its Cover: Fans, Publishers, Designers, and the Marketing of Fiction. | |
| Thomas Van Parys | 137-139 |
Vol 10, No 3 (2009)
Chris Marker (I)
Table of Contents
Thematic Cluster
| Introduction | |
| Peter Kravanja | 1-2 |
| ‘Thought-Images’ and Critical-Lyricisms: The Denkbild and Chris Marker’s Le Tombeau d’Alexandre | |
| David Foster | 3-14 |
| La mémoire en jeu vidéo dans Level five (1996) | |
| Thibaut Garcia | 15-28 |
| Micrologie de Chris Marker | |
| Nicolas Geneix | 29-46 |
| Avatars de l'Histoire, Warburg et Marker | |
| Barbara Laborde | 47-58 |
| Un cinéma du territoire | |
| Suzanne Liandrat-Guigues | 59-65 |
| L’oeuvre au miroir. Une journée d’Andrei Arsenevitch, Chris Marker | |
| Luc Vancheri | 66-72 |
Various Articles
| How Many is Multi? On the Example of Photo Narrative, High and Low. | |
| Jan Baetens | 73-82 |
| Historicizing Chicago’s Resurrection of the Film Musical, or, Thinking in Fragments, from Vaudeville to MTV | |
| Vagelis Siropoulos | 83-96 |
Review Articles
| The Importance of Being Iceland. Travel Essays in Art | |
| Jan Baetens | 97 |
| Art and Electronic Media | |
| Jan Baetens | 98-99 |
| Posthuman Metamorphosis: Narrative and Systems, New | |
| Elke D'hoker | 100-102 |
| God of Comics, Osamu Tezuka and the Creation of Post-World War II | |
| Pascal Lefèvre | 103 |
| Description in Literature and Other Media | |
| Thomas Van Parys | 104-107 |
| Sound Design and Science Fiction | |
| Thomas Van Parys | 108-113 |
Vol 10, No 2 (2009)
The author and his imaginary the development of particularity
L'auteur et son imaginaire l'élaboration de la singularité
Table of Contents
Thematic Cluster
| Petit lexique de poétique du sujet à l’usage des critiques soucieux d’étudier l’imaginaire de l’auteur | |
| Christian Chelebourg | 1-9 |
| Saint-Exupéry et son double | |
| Olivier Odaert | 10-27 |
| A Conjuror's smile: Vladimir Nabokov in The Real Life of Sebastian Knight | |
| Irina Marchesini | 28-46 |
| Quelques singularités de David Lynch - Un essai de poétique du sujet | |
| Giovanni Berjola | 47-64 |
| Not a book of one's own: the Contes indiens and Mallarmé's silken self | |
| Virginie Pouzet-Duzer | 65-79 |
| Once Upon A Time In America de Sergio Leone, un hommage à l'œuvre culte A Clockwork Orangede Stanley Kubrick | |
| Annick Girard | 80-93 |
| Do you speak Kubrick? Orchestrating Transgression and Mastering Malaise in The Shining | |
| Elizabeth Mullen | 94-108 |
| D'Eurydice perdue à Vénus sauvée des eaux. Le scénario mythique entre hantise personelle et vision de l'art chez Georges Limbour | |
| Ivanne Rialland | 109-122 |
| Dans le labyrinthe de Le Clézio: "Ariane", image mythique d'une réalité angoissante | |
| Catherine D'Humières | 123-134 |
Various Articles
| The Politics of Retirement: Joel and Ethan Coen's No Country for Old Men after September 11 | |
| Arne De Boever | 135-149 |
| La métalepse révélée au prisme du Mauvais œil, un roman-photo de Benoît Peeters et Marie-Françoise Plissart | |
| Laureline Meizel | 150-171 |
Review Articles
| Ex-foliations | |
| Jan Baetens | 172-173 |
| Hanne Darboven. Cultural history 1880-1983 | |
| Jan Baetens | 174-176 |
| The Intangibilities of Form. Skill and Deskilling in Art After the Readymade | |
| Mieke Bleyen | 177-179 |
| Sémiotique de la photographie | |
| Andrea Catellani | 180-182 |
| Questioning History. Imagining the Past in Contemporary Art | |
| Katarzyna Ruchel-Stockmans | 183-185 |
Vol 10, No 1 (2009)
Images of the Invisible
Images de l’invisible
Table of Contents
Thematic Cluster
| Avant-Propos | |
| Christian Chelebourg | 1-2 |
| « Une sorte de transparance opaque » Matérialisations de l’invisible | |
| Christian Chelebourg | 3-16 |
| L’art visionnaire d’Alex Grey | |
| Olivier Odaert | 17-27 |
| Entre démence et voyance – La création comme thérapie dans L’Enfant bleu d’Henry Bauchau | |
| Lauriane Sable | 28-41 |
| L’Invisible constituant ou du « miroitement, en dessous » – Images de l’invisible chez Mallarmé | |
| Serge Meitinger | 42-59 |
| « L’ombre et la proie » ou comment capter l’invisible dans l’œuvre de Nathalie Sarraute | |
| Noro Rakotobe d’Alberto | 60-73 |
| Louis Lambert: A Narrator in Search of the Legible | |
| Raina Uhden | 74-84 |
| « Ce qu’il ne faut pas voir » dans le théâtre de Maurice Maeterlinck | |
| Maryse Petit | 85-104 |
| Voyage au pays des âmes : la représentation des enchantements de l’Ombre dans l’œuvre de Henri Bosco | |
| Danièle Henky | 105-118 |
| Synæsthetic Specters: Haunting Hill House on the Silver Screen | |
| Elizabeth Mullen | 119-132 |
| Enlèvement nocturne ou Les ravages de la pulsion scopique dans un texte fantastique américain apocryphe de 1829 : « A Mystery of the Sea » | |
| Alain Geoffroy | 133-149 |
| Images de l’invisible dans Twin Peaks. Fire walk with me de David Lynch – Le battement entre les mondes ou les sept derniers jours de Laura Palmer | |
| Marc Arino | 150-164 |
| Villiers de l’Isle-Adam – L’invisible au cœur du désir | |
| Myriam Watthee-Delmotte | 165-175 |
Various Articles
| Time, extended: Hiroshi Sugimoto with Gilles Deleuze | |
| Mirjam Wittmann Wittmann | 176-189 |
| Echoes of the Phenomenon – A Conversation with Robert Pogue Harrison | |
| Ben de Bruyn | 190-203 |
| The shape of the pictorial in contemporary photography | |
| Hilde Van Gelder | 204-230 |
Review Articles
| Wordless Books : The Original Graphic Novels | |
| Jan Baetens | 231-233 |
| Du récit au récit médiatique | |
| Jan Baetens | 234-236 |
| Porous Boundaries. Texts and Images in Twentieth-Century French Culture | |
| Jan Baetens | 237-239 |
| A Comics Studies Reader | |
| Jan Baetens | 240-241 |
| Uncanny Bodies. The Coming of Sound Film and the origins of the Horror Genre | |
| Anneleen Masschelein | 242-244 |
| Photography and Cinema | |
| Alexander Streitberger |
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