Abstract
The paradox of visual culture is that it is everywhere and nowhere at once. We live in a world saturated with screens, images and objects, all demanding that we look at them. Work is mediated by screens and demands the virtuoso skills of a performing artist. Religions create spectacles of veiled women or of anti-evolution theme parks. At the same time, scholars of visual culture remind us that there is no such thing as a visual medium because all media are necessarily mixed. That is why the field is properly called visual culture, not visual media studies or visual studies. It compares the means by which cultures visualize themselves in forms ranging from the imagination to the encounters between people and visualized media.1
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Notes
Nicholas Mirzoeff (2009) An Introduction to Visual Culture, second edition (London and New York, NY: Routledge) p. 1.
For significant sources, see, W. J. T. Mitchell (2006) What Do Pictures Want? The Lives and Loves of Images (Chicago, IL and London: The University of Chicago Press)
Teresa Brennan and Martin Jay, eds. (1996) Vision in Context: Historical and Contemporary Perspectives on Sight (New York, NY and London: Routledge)
Jean Baudrillard (1994) Simulacra and Simulation, trans. Sheila Faria Glaser (Ann Arbor, MI: The University of Michigan Press)
Fredric Jameson (1991) Postmodernism, or, the Cultural Logic of Late Capitalism (Durham, NC: Duke University Press)
Roland Barthes (1977) Image Music Text, trans. Stephen Heath (London: Fontana Press)
John Berger (1972) Ways of Seeing (London: Penguin).
For recent uses and definitions of intermediality, see Leena Eilittä et al., eds. (2011) Intermedial Arts: Disrupting, Remembering and Transforming Media (Newcastle upon Tyne: Cambridge Scholars Publishing)
Liliane Louvel (2011) Poetics of the Iconotext, ed. Karen Jacobs, trans. Laurence Petit (Farnham: Ashgate)
Lars Elleström, ed. (2010) Media Borders, Multimodality and Intermediality (Basingstoke: Palgrave Macmillan)
Christian J. Emden and Gabriele Rippl, eds. (2010) ImageScapes: Studies in Intermediality (Oxford and Bern: Peter Lang)
Marina Grishakova and Marie-Laure Ryan, eds. (2010) Intermediality and Storytelling (Berlin and New York, NY: de Gruyter)
Alan English and Rosalind Silvester, eds. (2004) Reading Images and Seeing Words (New York, NY and Amsterdam: Rodopi).
Gillian Rose (2007) Visual Methodologies: An Introduction to the Interpretation of Visual Materials, second edition (London: Sage) p. 141.
Peter Wagner, ed. (1996) Icons — Texts — Iconotexts: Essays on Ekphrasis and Intermediality (Berlin and New York, NY: de Gruyter) p. 7.
Marita Sturken and Lisa Cartwright (2009) Practices of Looking: An Intro-duction to Visual Culture (Oxford and New York, NY: Oxford University Press) p. 4.
Stephen Cheeke (2008) Writing for Art: The Aesthetics of Ekphrasis (Manchester: Manchester University Press) p. 2.
Important discussions of ekphrasis on various fields include Siglind Bruhn (2000) Musical Ekphrasis: Composers Responding to Poetry and Painting (Mid Glamorgan: Pendragon Press)
Tamar Yacobi (2000) ‘Interart Narrative: (Un)reliability and Ekphrasis’ Poetics Today 21.4, pp. 711–49; Claus Clüver (1997) ‘Ekphrasis Reconsidered: On Verbal Representations of NonVerbal Texts’ in Interart Poetics: Essays on the Interrelations between the Arts and Media, eds. Ulla-Britta Lagerroth et al. (Amsterdam: Rodopi)
John Hollander (1995) The Gazer’s Spirit: Poems Speaking to Silent Works of Art (Chicago, IL and London: The University of Chicago Press)
Grant F. Scott (1994) The Sculpted Word: Keats, Ekphrasis, and the Visual Arts (Hanover, NH: University Press of New England)
James A. W. Heffernan (1993) Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery (Chicago, IL and London: The University of Chicago Press).
For discussions of hypotyposis, see Fanfan Chen (2008) ‘From Hypotyposis to Metalepsis: Narrative Devices in Contemporary Fantastic Fiction’ Forum for Modern Language Studies 44.4, pp. 394–411; Steven Ravett Brown (2004) ‘On the Mechanism of the Generation of Aesthetic Ideas in Kant’s Critique of Judgment’ British Journal for the History of Philosophy 12.3, pp. 487–99; and Howard Caygill (1995) A Kant Dictionary (Oxford and Malden, MA: Blackwell Publishers).
Ruth Webb (2009) Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice (Farnham: Ashgate) p. 7.
Claire Preston (2007) ‘Ekphrasis: Painting in Words’ in Renaissance Figures of Speech, eds. Sylvia Adamson et al. (Cambridge and New York, NY: Cambridge University Press) p. 119.
Murray Krieger (1992) Ekphrasis: The Illusion of the Natural Sign (Baltimore: The Johns Hopkins University Press) p. 76.
Rodolphe Gasché (2003) The Idea of Form: Rethinking Kant’s Aesthetics (Stanford, CA: Stanford University Press) p. 202.
W. J. T. Mitchell (1994) Picture Theory (Chicago, IL and London: The University of Chicago Press) p. 158.
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© 2013 Jarkko Toikkanen
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Toikkanen, J. (2013). Intermediality. In: The Intermedial Experience of Horror. Palgrave Macmillan, London. https://doi.org/10.1057/9781137299093_3
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DOI: https://doi.org/10.1057/9781137299093_3
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