0000000000963864
AUTHOR
Aymes-stokes Sophie
showing 7 related works from this author
Expiation et filiation dans Death of a Hero de Richard Aldington (1929)
2017
Textes réunis et présentés par Sylvie Crinquand; National audience; Le roman de Richard Aldington reflète le scandale que fut la Première Guerre mondiale en puisant aux sources classiques de l'imaginaire européen et révèle l'ambivalence du mythe de la modernité en suggérant que la crise de la filiation créée par la Grande Guerre est également inhérente au Modernisme.
Text, Image and Embroidery: Threads and Scratches
2013
Ce texte a pour point de départ l’analyse des rapports entre une nouvelle de A. S. Byatt et ses illustrations, et s’attache à définir les métaphores du fil et de la trace utilisées pour décrire textes, tissus et images gravées depuis l’introduction de l’imprimerie et des modes industriels de reproduction. Sa perspective interdisciplinaire prend en compte l’apport de penseurs du 19ème siècle tels que John Ruskin, ainsi que les recherches récentes dans les domaines des rapports entre image et texte, de la médiologie et de l’anthropologie sociale.
'A Quality of Flux’: The Formal Logic of Mervyn Peake’s Illustrations and Texts
2002
International audience
“Autographic wood-engraving: Modernist DIY“
2017
International audience; This paper focuses on the description of modernist wood engraving as a humble form of art in the manuals published by John Farleigh, Clare Leighton and Iain Macnab between 1932 and 1940. As a specific form of artistic encounter with a medium, autographic wood engraving relied on the heritage of the Arts and Crafts’ ethics of making as well as on the modernist aesthetics of carving. This paper aims to show that the efficacy of humbleness as an artistic stance allowed wood engraving to straddle the provinces of art, craft and design at a time when the function of artistic skill and handmaking was being displaced.
Les chemins de l’imaginaire : trois rêveries de Mervyn Peake
2003
The three passages I have selected from Mervyn Peake’s “Titus books” can be interpreted in the light of one of his major concerns: finding a way back to the origins of the vision, before it is worked out as text or picture. Each text can be seen as the product of a daydreaming consciousness, fascinated by its own imagination. Titus’s and Muzzelhatch’s “reveries” are variations on the theme introduced by the narrator in the first passage and they point to a doomed visionary quest in a disenchanted world.
Texte et image : la théorie au 21ème siècle
2011
International audience; Issue 5 of Interfaces – which is reproduced in this number – contains among other contributions papers by John Dixon Hunt, W.J.T. Mitchell and Jean-Michel Rabaté as well as by Marie-Odile Bernez and Maurice Géracht. Michel Baridon also provided a survey of research centres and periodicals, and an up-to-date bibliography devoted to the question, in which he carefully listed the then most recent major contributions to text/image theory in the fields of arts and literature, psychology, linguistics and sciences. His concluding words were “les perspectives qui s’ouvrent sont neuves et profondes […] Tout cela n’ira pas sans beaucoup de travail […] mais toute démarche novat…
“Linearity, an English Trait?”
2009
This article looks at how the « English line” became one of the defining features of Englishness from the 1920s to the 1950s. It is based on texts by Michael Ayrton, Robin Ironside, John Piper and Nikolaus Pevsner that were published during or just after the Second World War, and that contributed to a contemporary critical reassessment of English art.