Mélusine – tome 7 - HOCUS POCUS (French Edition)

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A moi, Chevaliers de l'Oubli Gilsayan rated it it was amazing Jan 02, Nolwenn rated it liked it Aug 23, Eibhileen rated it really liked it Jan 30, Ty rated it liked it Oct 18, The important literature in critical theory on the opposition between poetry and painting, from Lessing to Foucault and Deleuze, underlines the irreducibility of seeing and saying, showing and telling, display and discourse.

Are we dealing with two realities or a single reality? Is the double being created metaphorical or literal?

Are words and images complementary or hybrid? Critics often develop an organic metaphor of the generative process in this context to account for the close relations, within difference, between two heterogeneous modes of expression. In her discussion of Parler seul , for example, R. This type of response is also evoked by Barthes who shows how Cy Twombly's pictorial signs or vecteurs set off the viewer's own verbal or graphic trajectory: Je me mets, si l'on peut dire: Within the critical field, the livre d'artiste has been thoroughly chronicled and inventoried, definitions tirelessly questioned, and analysis of individual collaborations meticulously elaborated.

Yet a number of questions relating to the field remain open. These questions concern, first, issues relating to the material book: To what extent does the material specificity of the work inform its meaning?

How does the discursive framework provided by specific display techniques inform the reception of the livre d'artiste? Second, a number of methodological issues raised by the co-presence of word and image on the page remain to be explored further: Finally, on a more general level, since the s academic research, particularly in the UK and the USA, has undergone a shift from the relative autonomy of disciplines to a growing interest in intermediality.

French academia, for a time more reticent, is also adopting cross-disciplinary approaches: Yet the critical field still remains largely pluridisciplinary, an accumulation of distinct fields of knowledge, as yet only tentatively interdisciplinary. Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide.

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The exhibition highlighted the creation of a new aesthetics juxtaposing visual and verbal elements, from Guillaume Apollinaire's calligrammes and Futurist poem-paintings to Dada and constructivist journals, surrealist book objects and livres d'artistes. The term livre d'artiste will be used here to designate various forms of the twentieth-century book in France as a collaboration between poets and painters or texts and images.

Tracing the Legacy of a Medieval Myth

Given the multiple origin of the livre d'artiste , critical studies are situated at the intersection of several disciplines: The material book Focus on the material book has developed with more recent scholarship on materiality in the avant-garde informed by art critics like Rosalind Krauss and Yves-Alain Bois , and with growing interest in genetic criticism. The principal studies on the livre d'artiste in France include: Strachan, The Artist and the Book in France: A Catalogue of the W. Samson-Le Men Paris, Klincksieck, , pp.

Recent exhibitions devoted to publishers of livres d'artiste include: Chapon, Le Peintre et le livre , p. It is also called artist's book , artists' book , book art or bookwork , and livre d'artiste in French.

The first major exhibition in Paris was Livres d'artistes: The substantial critical literature on the subject focuses mainly on North American works: For a discussion of French artists books, see for example: The Text and its Rivals , ed. For an inventory and discussion of the book object, see for example: Hubert and Judd D.