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Reading pictures, viewing texts

Author: Claude Gandelman
Publisher: Bloomington : Indiana University Press, ©1991.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
How and what do we see and know when we look at a painting? Conversely, how do we visualize the literary text? These questions are the focus of Claude Gandelman's virtuoso essays on reading and the visual arts. Gandelman's subjects range from the Egyptians to Franz Kafka, from Las Meninas to concrete poetry. His methodology is semiotic. He reads pictures as signs and tries to understand the significance of a wide  Read more...
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Additional Physical Format: Online version:
Gandelman, Claude.
Reading pictures, viewing texts.
Bloomington : Indiana University Press, ©1991
(OCoLC)646305162
Document Type: Book
All Authors / Contributors: Claude Gandelman
ISBN: 0253325323 9780253325327
OCLC Number: 22005405
Description: xi, 178 pages : illustrations ; 25 cm
Contents: Touching with the eye --
The gesture of demonstration --
Penetrating doors --
Optics in extremis --
Toeing the line --
Homunculus as map --
Bodies, maps, texts --
The scatological homunculus --
Haptics in extremis --
Peeling off skins --
Reading order and disorder --
Oculocentrism and its discontents.
Responsibility: Claude Gandelman.

Abstract:

How and what do we see and know when we look at a painting? Conversely, how do we visualize the literary text? These questions are the focus of Claude Gandelman's virtuoso essays on reading and the visual arts. Gandelman's subjects range from the Egyptians to Franz Kafka, from Las Meninas to concrete poetry. His methodology is semiotic. He reads pictures as signs and tries to understand the significance of a wide variety of pictorial and textual signs and gestures. Kafks's caricature of the skeletal "hunger artist," for example, is read against the similarly distorted images of Expressionist painting and film. Another chapter, - on doors as thresholds, as visual rites of passage - studies the "optics of liminality" in art and literature from seventeenth-century realist Flemish painting to Madame Bovary. Two key chapters deal with the body images all of us bear within ourselves, the implicit image of oneself that is inscribed as a sort of imprint in the cortex and that has been visualized as a homunculus. Do we read this image and extract it, sometimes violently, in our images of the Other? -- Book Jacket.

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