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The Pictorial Third: An Essay into Intermedial Criticism examines the extent to which poetry intertwines with painting and the visual at large, and studies the singular relationship established between language and image, observesing the modalities and workings of what is termed ‘intermedial transposition‘. By following a critical method of the close analysis of texts, the book examines to what extent the "pictorial" tool may be of help to analyze literary texts and thus enlarge and enrich literary criticism. Examining the technical notions typical of the medium and its history, including perspective, framing, colour, anamorphosis, trompe-l’œil, Veronica veil, still life, portrait, figure, illusion, apparatus, genres and styles, this volume presents a pragmatics of image-in-text and of the visual-in-text as an operative tool. This "pictorial" reading necessarily includes synesthesia and the senses; it also functions as a reading event , or what happens to one when one unawares encounters a picture (be it present in the book or the object of an ekprhasis). Thus the body is eventually given back a role to play. The sensitive approach has its own resonances and the eye or the gaze sometimes sees double in such intermedially oriented texts. This volume proposes to identify the pictorial third as the phenomenon which can be apprehended in terms of effect or affect not only as a concept.
Poetics of the Iconotext makes available for the first time in English the theories of the respected French text/image specialist, Professor Liliane Louvel. A consolidation of the most significant theoretical materials of Louvel's two acclaimed books, L'Oeil du Texte: Texte et image dans la littérature anglophone and Texte/Image: Images à lire, textes à voir, this newly conceived work introduces English readers to the most current thinking in French text/image theory and visual studies. Focusing on the full spectrum of text/image relations, from medieval illuminated manuscripts to digital books, Louvel begins by introducing key terms and situating her work in the context of significant debates in text/image studies. Part II introduces Louvel's s typology of pictorial saturation through which she establishes a continuum along which to measure the effect of the most figurative to the most literal images upon writerly and readerly textual 'spaces.' Part III adopts a phenomenological approach towards the reading-viewing experience as expressed in conceptual categories that include the trace, focal range, synesthesia, and rhythm and speed. The result is a provocative interplay of the categorical and the subjective that invites readers to think at once more precisely and more inventively about texts, images, and the intersections between the two.
In 1992 W. J. T. Mitchell argued for a "pictorial turn" in the humanities, registering a renewed interest in and prevalence of pictures and images in what had been understood as an age of simulation, or an increasingly extensive and diverse visual culture. However, in what is often characterized as a society of the "spectacle" we still do not know exactly what pictures or images are, what their relation to language is, how they operate on observers and the world, how their history is to be understood, and what is to be done with or about them. In this seminal collection of essays, the first to be devoted to the "pictorial turn", theorists from across the humanities and social sciences, representing the disciplines of art history, philosophy, geography, media studies, visual studies and anthropology, are brought together with a paleontologist and practising artists to consider amongst other things the relation between pictures and images, the power of landscape, the nature of political images, the status of images in the natural sciences, the "life" of images, and the pictorial uncanny. With these topics in mind, picture theory and iconology exceed in scope the objects of visual culture conventionally understood. This book was published as a special issue of Culture, Theory and Critique.
Reveals the invention of the readymade as a critical point in contemporary art.
The Routledge Companion to Literature and Art explores the links between literature and visual art from classical ekphrasis through to contemporary experimental forms. The collection’s engagement with diverse literary and cultural artifacts offers a comprehensive survey of the vibrant interrelationships that currently inform literary studies and the arts. Featuring four sections, the first part provides an overview of theoretical approaches to art and literature from philosophy and aesthetics through to cognitive neuroscience. Part two examines one of the most important intersections between text and image: the workings of ekphrasis across poetry, fiction, drama, comics, life and travel writing, and architectural treatises. Parts three and four consider intermedial crossings from antiquity to the present. The contributors examine the rich intermedial experiments that range from manuscript studies to infographics in graphic narratives, illuminating the vibrant ways in which texts have intersected with illustration, music, dance, architecture, painting, photography, media installations, and television. Throughout this dynamic collection of 37 chapters, the contributors evolve existing critical debates in innovative new directions. The volume will be a critical resource for advanced undergraduate and graduate students, as well as specialist scholars working in literary studies, philosophy of art, text and image studies, and visual culture. The Introduction and Chapters 10, 14 and 37 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution (CC-BY) 4.0 license.
Archival photos detailing the US Army division’s efforts during WWII, featuring accounts of the T-26 Pershing tank and its first use in combat. The Third Armored Division, famously known as the “Spearhead Division," had an illustrious combat career in WW2. One of only two “heavy armored” divisions of the war, the 3rd Armored joined the battle in the ETO in late June of 1944, was bloodied almost immediately and was at the front of the American advance through the hedgerows of Normandy and the rapid advance through France into Belgium by September 1944. The 3rd was one of the first units to breach the vaunted Siegfried Line and then fought a series of back and forth battles with the German army in the Autumn of 1944 as the weather conditions and determined tenacity of the German defenders produced an Autumn stalemate. The 3rd was rushed to the Ardennes front in December of 1944 in response to Hitler’s winter offensive and they famously fought battles at the defense of Hotton, Grandmenil and then pushed the Germans back to the border after vicious battles in places like Ottre, Lierneux, Cherain and Sterpigny. The early days of the Bulge battles would find the lost unit of Col Samuel Hogan’s 400 men who were surrounded for days and fought their way back to friendly lines. After a brief rest and being outfitted with 10 of the T-26 Pershing tanks, the 3rd was at the spearhead of the 1st Army advance into Germany, across the Rhine and into the Harz mountains and the liberation of the Nordhausen concentration camp. This final campaign would see the highpoint of the famous Cologne tank duel between a Pershing and German panther, made famous by the recent book Spearhead by Adam Makos. Then, just a few weeks later the beloved commander of the division, Major General Maurice Rose, was tragically shot by a German tank commander when trying to surrender Paderborn, Germany. The 3rd would end the war at the tip of the American advance into Germany before the war ended. “An armored division is more than just its tanks, and the author makes that clear by including numerous images of the unit’s infantry, reconnaissance artillery and support troops performing their duties. This book provides a wealth of details of how the men of this division lived and fought during the war.” —WWII History “Sometimes a pictorial history is a hundred times better than a textual history, and that’s certainly the case with the US 3rd Armored Division.” —Books Monthly
A "picture panorama, with text, of all axpects of American Negro life from African origins through slavey days to the present [integration efforts]. The pictures were collected ... from prints, engravings, woodcuts, photographs, paintings."
What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.