By Peter Wagner
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Additional info for Icons, texts, iconotexts : essays on ekphrasis and intermediality
His suggestion for an escape route is the selfconscious reflection of one's procedure and the application of intertextual models. : Explanation and Value in the Arts, pp. 94—109. " (pp. 109-27); Horowitz: "Objectivity and Valuation in Contemporary Art History" (pp. 127—46); and the introductory essay, by Kemal and Gaskell: "Interests, Values, and Explanadons" (pp. 1—43). D. , John R. Searle, and Steven Knapp and Walter Benn Michaels, in New Literary History 25 (1994), pp. 549—681. Searle, I think, makes a good case for the ambiguity and indeterminacy of the work of art from the point of view of speech acts.
57 See Lyotard's essay, first delivered as a paper in 1972, "La peinture come dispositif libidinal," in Les dispositifs pulsionnels, pp. 227-68. Wagner: Ekphrasis, Iconotexts, and Intermediality - the State(s) of the Art(s) 23 evokes a feeling of both strangeness and familiarity, remains something mysterious and inaccessible. Part II assembles four contributions on particular iconotexts and their verbal representation in literary and critical discourse. The survey starts with Watteau, an enigmatic painter at the beginning of the century.
If she replaced the term "textual" with "rhetorical," I could accept her argument. For a discussion of the problems posed by such models see especially Martin Heusser's introduction to his superb collection of essays, Word <& Image Interaction, especially pp. 13—17; and Robinson: "Reading Victorian Paintings," pp. 211—226. Robinson points out that we can apparently not avoid using linguistic models in the critical analysis of art. The solution, I would suggest, lies in the exploration of the common ground shared by image and text.
Icons, texts, iconotexts : essays on ekphrasis and intermediality by Peter Wagner