Text and Image in Modern European Culture

By Margaret Rigaud-Drayton and Thomas Baldwin

Text and Image in Modern European Culture is a collection of essays that are transnational and interdisciplinary in scope. Employing a range of innovative comparative approaches to reassess and undermine traditional boundaries between art forms and national cultures, the contributors shed new light on the relations between literature and the visual arts in Europe after 1850. Following tenets of comparative cultural studies, work presented in this volume explores international creative dialogues between writers and visual artists, ekphrasis in literature, literature and design (fashion, architecture), hybrid texts (visual poetry, surrealist pocket museums, poetic photo-texts), and text and image relations under the impact of modern technologies (avant-garde experiments, digital poetry). The discussion encompasses pivotal fin de siècle, modernist, and postmodernist works and movements in Britain, France, Germany, Italy, Poland, Russia, and Spain. A selected bibliography of work published in the field is also included. The volume will appeal to scholars of comparative literature, art history, and visual studies, and it includes contributions appropriate for supplementary reading in senior undergraduate and graduate seminars.

• Language: English
• Publisher: Purdue University Press
• Release date: Sep 15, 2012
• ISBN: 9781612492421

Book preview

Introduction to Text and Image in

Modern European Culture

Robert Lethbridge

The configurations of the volume Text and Image in Modern European Culture—edited by Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton—are consistent with the aims and scope of the Purdue University Press series of Books in Comparative Cultural Studies in which it appears. That is, its self-evidently comparative perspectives are inseparable from interdisciplinarity in a wider sense. Each of its articles on text and image in modern European culture operates on the cusp of two or more disciplines, including the study of literature and the visual and applied arts, as well as media and comparative cultural studies more broadly. Throughout the book, comparative analysis is grounded in recent theory but also crosses boundaries, both geographical and generic. At the same time, the contextual approach of comparative cultural studies (see Tötösy de Zepetnek) is solidly anchored in empirical research, offering documentary certainties which assure comparative commentary its intellectual credibility. Accordingly, the structure of the volume is dictated by different kinds of interchange between text and image. Part 1, Cross-Cultural Networks, focuses on artistic exchanges involving two or more national traditions, while still generating creative dialogues between poetry and painting or prose writing and photography (Pieri, Grigorian, Blinder). While this opening section already situates ekphrasis in an international context, in part 2, Ekphrasis and Beyond, contributors explore instances of it within a single literary work, such as a novel or a collection of poems, affording a greater intensity of critical focus (Waters; Baldwin; Larkin). Beyond those domains, part 3, Text and Design, is an expansion of the scope of the visual into the realm of (three-dimensional) design and, more specifically, fashion and architecture, discussed here in relation to different types of written text (Best; Knoop). Rather than being limited by thematic and generic or rhetorical transpositions, in part 4, Hybrid Texts, contributors explore more unorthodox examples of text-image interaction, resulting in hybrid texts such as a visual poem, a Surrealist literary review, or a poetic photo-text (Rigaud-Drayton; Kent; Madloch). The articles in part 5, Multimedia Encounters, open up perspectives for further research, such as exchanges between literature and modern technologies involving futurist multimedia experiments and digital poetry (Nikitina; Fromet de Rosnay). And while comparisons between works of art are obviously not constrained by their precise contemporaneity, the articles are arranged, within each section, in a chronological order following cultural transition from the nineteenth century onwards, through the twentieth and twenty-first centuries. Last, in part 6, there is a Bibliography for the Study of Text and Image in Modern European Culture (Grigorian).

It goes without saying that any encounter between visual and verbal languages is inseparable from the interdisciplinary perspectives developed over the past thirty years in both teaching and research, not least in relation to the broader background of comparative cultural studies into which this book fits. A key moment in this shift of direction might be said to be the publication of the first number of the journal Word & Image: A Journal of Verbal/Visual Enquiry in 1985. In his preface to it, Michael Leslie described the scope of its purview as potentially vast (1). Text and Image in Modern European Culture bears witness to that interdisciplinary potential, of course, but also underlines how far exploration of the reorganized humanistic map has come since that inaugural issue of the journal framed its essays under the heading of Ut Pictura Poesis. Initial attention to the latter has necessarily taken its point of departure from the body of Renaissance and Enlightenment theory and practice built up around casual or fragmentary utterances in classical times by Simonides, Horace, and others. So complete has been the subsequent assimilation of this discursive prehistory, however, that it is now implicit rather than rehearsed by way of rationalization. And the boundaries of the field, both temporal and cultural, have been expanded far beyond the original tentative meetings and territorial incursions negotiated by literary scholars and art historians.

The history of that field and the seminal work activating its development are referenced in both suggested further reading relating to individual essays and in the thematic bibliography in the volume. Even if it is selective, the latter is ambitiously aimed towards students of modernism, as well as intended to facilitate specialist research on the complex relationship between text and image. It is revealing that, like most of the articles in the volume, some of the most important book-length analyses listed are devoted less to comparative juxtaposition than to the creatively overlaid achievements of specific artists. Such self-imposed constraints afford the scholarly rigor which characterizes Peter Cooke’s Gustave Moreau et les arts jumeaux (2003), Penny Florence’s Mallarmé, Manet, and Redon (1986), and Peter Read’s monumental Picasso and Apollinaire (2008). In a more general perspective, it is useful to be reminded by the bibliography that precursors like Mario Praz and Maurice Bowra, however intuitive their insights, were preparing the ground for the proliferating work of the last two decades. Nor should we forget how radical such new intellectual directions once seemed. Norman Bryson’s Word and Image: French Painting of the Ancien Régime (1981) about painting provoked a generation of art historians to engage in a furiously polemical debate on the legitimacy of structuralist approaches to pictorial signs. That the corresponding literary object of investigation, exemplified by Mieke Bal’s The Mottled Screen: Reading Proust Visually (1997), was simply warmly welcomed allows us to measure the critical distance traveled, with its staging posts marked by studies of Symbolist landscapes and Surrealist imaginings. Another crucial dimension of its configuration is to be found in Dario Gamboni’s La Plume et le pinceau. Odilon Redon et la littérature (1989), substituting for the tradition of the sister arts a rivalry between text and image more critically rewarding than invocations of avant-garde solidarity. Few would dispute, however, that David Scott’s Pictorialist Poetics (1988) represented a paradigm shift in the debate and that it remains a model of closely focused analysis. And it is equally instructive that recent critical work, such as that by Clive Scott, has moved from poetry and the visual arts to photography in its own right. In bibliometric terms, the preponderance of studies of photography and its own internal technological advances testify to the correlation between the image-saturated world we inhabit and scholarly interests inseparable from it.

The perspectival coordinates of Text and Image in Modern European Culture track this expanding field. It does so, first of all, across a range of national cultures, thereby overriding the volume’s internal structures. The articles take us from England to Russia and from Italy to Poland. France, and Paris in particular, retain an unsurprising experimental centrality, given its magnetism for exiles and the avant-garde. But within, and across, these European locations, emerge more subtle networks of fertilizing interchange. This is evident in the opening section, nowhere more explicitly than in Giuliana Pieri’s analysis of what she calls Gabriele D’Annunzio’s iconotext, his Psiche giacente in the collected Poema Paradisiaco. Here we find intertextuality (and whatever its pictorial equivalent might be termed) writ large, indexing Edward Burne-Jones in an epigraph lest there be any doubt about the transposition d’art it effects. Yet its own complexity of design, thematically linked to Decadent configurations, moves it beyond both its originating visual source and the narrative imperatives of Pre-Raphaelite aesthetics. What Pieri’s article also demonstrates, however, is that such mutually enhancing juxtapositions have to be grounded in precise historical scholarship. For only on that secure basis can they avoid the charge to which comparative studies are too often vulnerable, namely, that they may seem to rely on the arbitrary alignment or overlay of creative modalities and to be guilty of the temptations of similitude substituted for the differentiation which comparison affords. Natasha Grigorian also travels between countries, locating in José-Maria de Heredia’s mediation the specificity of the links between French and Russian Symbolism. In Caroline Blinder’s article, Henry Miller, an honorary European (as it were), engages with Brassaï, the Hungarian, in a Paris which is the idealized counterpoint of New York. Edward Burne-Jones’s collaboration with William Morris brings into play the latter’s debt to Greek, Scandinavian, and Celtic sources. In Guillaume Apollinaire we find an admixture of Christian and Mexican iconography, a Garden of Eden, as well as the Mayas. In other parts of the book, the focus extends from French, German, and Spanish writing to Polish and Russian poetry. One group of Surrealist artists, in the 1930s, are based in Tenerife. But across far-flung locations there is visible a transnational dynamic, whether in the shape of authorial mobility or habits of reading in which the original language is no more constraining than the crossing of frontiers (indeed, in Apollinaire, the multilingual fabric is of the essence of his creative and existential anxiety). Nor does this simply apply to individual artists in contact with each other, either directly or indirectly. More prosaically, a French fashion magazine, even as early as during the Second Empire, has numerous foreign editions appearing in major cities across, and beyond, the continent.

The temporal scope of the book is no less widening. Analysis of illustrated periodicals of the 1850s necessarily sketches in their July Monarchy predecessors. The long fin de siècle is extended backwards to Gustave Moreau’s and Burne-Jones’s figurations in the 1860s through Mallarmé’s Coup de dés of 1897 and forward to a Paul Scheerbart novel of 1901, Rilke’s poems in 1907-08, and an architectural exhibition and a seminal Apollinaire text on the eve of World War I. The articles on Marcel Proust refer us to Les Plaisirs et les jours of 1896 as well as to A la recherche du temps perdu. Alicia Kent’s article is devoted to Surrealist literary periodicals of the 1920s and 1930s. Svetlana Nikitina takes her subject from Filippo Marinetti’s Futurist Manifesto of 1909 to constructivist antidotes to bourgeois formalism between the Russian Revolution and 1934. Henry Miller’s reflections on Paris date from 1938, but are inseparable from his later Quiet Days in Clichy (1956). Joanna Madloch’s examples of photo-texts, two of them by Nobel Laureates, are drawn from the 1970s onwards, culminating in Wisława Szymborska’s Photograph from September 11, made accessible in translation only in 2005. But many of the other articles also set up parallels and continuities with textual and visual phenomena outside their explicit chronological parameters. Sometimes these are merely thoughtprovokingly interposed, as in the way the Crystal Chain architects paying homage to Scheerbart’s vision (in his programmatic Glasarchitektur of 1914) anticipate contemporary glass structures as diverse as those in the City of London or Shanghai. If Burne-Jones’s most important visual sources in the second half of the 1860s included Francesco Colonna’s Hypnerotomachia Poliphili, first published in Venice in 1499, his iconographic motifs, when adapted by D’Annunzio in the 1880s and 1890s, are transformed from classical myth into Decadent imagery. Proust’s description of the Hubert Robert fountain in Sodome et Gomorrhe responds, it is argued, to questions posed in Diderot’s Salon de 1767. Nineteenth-century fashion plates are as ideologically inflected as the 1950s magazines so memorably deconstructed by Roland Barthes and the very objects of Judith Butler’s studies, in the 1990s, of the materialization of desirable gender norms. The format of Surrealist literary reviews is approached through major retrospectives, notably the Undercover Surrealism exhibition at the Hayward Gallery in 2006. Futurist and constructivist experimentation foreshadows the multimedia Electronic Revolution in which we are living today. So too, Stéphane Mallarmé is reread against what is termed Florence’s multimedia project, in the year 2000, on Un Coup de dés, and compared with the recent artworks and writings of Simon Biggs.

Yet what most sharply delineates the radical expansion of the field are, as suggested above, its generic extensions. Much work over recent decades has been devoted to the relationship between texts and the pictorial arts contemporary to them, but with a disproportionate emphasis on painting. In this volume, by contrast, the latter occupies a more limited space than photography. If Pieri and Grigorian remain within pictorial domains, neither of the articles on Proust, for example, has cause to refer substantively to the body of research which has been consecrated by Eric Karpeles’s sumptuous Painting in Proust: A Visual Companion to In Search of Lost Time (2008). And the critical purchase on photography itself has multiple positionings. Its most literal angle is provided by Brassaï’s images of working-class Parisians, offering Miller a correlative of an inner narrative and marking affinities with, as well as a more ambiguous distancing from, Surrealist conceptions of the genre. Blinder’s article nevertheless opens up precisely the suggestive avenues adopted by others, for she underlines that while Miller locates in photography a process of correspondences affording re-enactment of the past, Brassaï sees Miller’s own texts as operating from that premise. For Baldwin, the reconfigurations of the photograph, at one further remove in its representation of a painting, make Proust’s writing photographic in a more metaphorical sense. Áine Larkin, on the other hand, is concerned with authorial appropriation of photographic motifs, and in particular the very practice and technical processes of the art. Joanna Madloch’s article on the semiotic weight of the term within three modern poems asks fundamental questions about the way in which we read all such juxtapositions, thereby returning us to the integrated set of illustrations of André Breton’s Nadja so admired, according to Brassaï at least, by Miller. The discursive images at the heart of Kate Nelson Best’s article on Le Moniteur de la mode and La Mode illustrée are, as this last title confirms, inseparable from nineteenth-century precursors to photography. But it also points to a broader genre which deserves far more scholarly and critical scrutiny, namely, that most literal interaction of word and image, the illustrated text. Coinciding with the growth of mass literacy and technical innovation which marks nineteenth-century publishing, the ubiquity of the format is as problematic for readers as it is for writers. At one stage in her essay, Best cites Emma Bovary’s delusional rapture engendered by her immersion in contemporary women’s magazines. But that also serves to remind us of Gustave Flaubert’s own resistance, shared by most of his fellow novelists, to the illustrator’s discursive seductions and arrogated authority, reducing textual complexity to punctual simplification.

If the illustrated book, magazine, or catalogue raise questions of caption and commentary, another expanding field of research is that of exhibition strategies. Here again, much groundbreaking work has been done, such as in Andrew McClellan’s Inventing the Louvre (1994), in which museum discourse is revealed as a subject in its own right. Almost fortuitously but no less pertinently, Rainer Maria Rilke’s Dame vor dem Spiegel, read by William Waters as an inversion of a conventional opposition between pictured object and picturing subject, is inspired by a visit to an exhibition of women’s portraits; and, reinforced by the complementary Damen-Bildnis aus den Achtziger-Jahren—with that temporal marker validating its reality—he concludes that the Neue Gedichte themselves acquire the status of a museum collection. As Kent shows, the tensions between museological practices and individuated interpretation are at their most acute in Surrealist subversion of institutional templates. But, paradoxically, the layout of those reviews which were published in the 1920s and 1930s encodes the spatial dynamic of an experience of directed vision and associative freedom. Her detailing of the materiality and measurements of text and staging, right down to the front cover of an issue of La Révolution surréaliste, is a reminder of the importance of the graphic. Nikitina’s analysis of constructivist poetry reasserts the texture, patterning, and physicality of words, just as Rigaud-Drayton explores minutely the calculated intricacies of Apollinaire’s first experiment with verbal and visual modes of signification. Another visual language is, of course, architecture, and Christine Angela Knoop’s study relates it to fictional spaces and palatial imaginings. In the final part of the volume, however, Multimedia Encounters offers us a glimpse of the critical future. For Emile Fromet de Rosnay takes us even further and beyond familiar scholarship in his invocation of Mallarmé’s anticipation of an intermediality now either within electronic reach or—as Nikitina laments—left among the unfulfilled aspirations of the digital age.

These new perspectives are enhanced by theoretical approaches as refreshing as they are eclectic, taking into account both established critical texts and subsequent thinking. The articles on photography, for example, refer us to Barthes and Susan Sontag as a matter of course. Blinder returns us to Theodor W. Adorno. But authors of these studies also rethink the genre in the light of more recent work of equal significance and originality. Larkin evokes that of Vilém Flusser, Jean-Marie Schaeffer, and Patrick Maynard, but is indebted specifically to Philippe Dubois’s L’Acte photographique and to Serge Tisseron’s stress on photographic practice, with the framing of the image and the release of the shutter as the nexus of both an encounter with the self and a set of power relations capturing the other. Baldwin cites Georges Didi-Huberman’s Devant l’image and Madloch shuttles between Umberto Eco’s and Geoffrey Batchen’s work on the semiotics of photography. Studies on other topics are equally alive to the necessity of revisiting critical assumptions. If Barthes also occupies a privileged and familiar place in Best’s discussions of illustrated magazines, his classic Système de la mode is qualified by Paul Jobling’s Fashion Spreads: Word and Image in Fashion Photography since 1980 (1999) and filtered through feminist articulations of cultural fetishism and erotic consumerism. Carl Jung and Claude Lévi-Strauss, on the other hand, newly illuminate Symbolist mythologies, while Pieri insists that Walter Pater still provides the theoretical framework for our understanding of the connections between poetry and the visual arts in late nineteenth-century Britain. And Walter Benjamin continues to inform thinking across different kinds of enquiry, whether in relation to Paris or to the age of mechanical reproduction of which the photograph is emblematic. His notion of the auratic is central to Baldwin’s essay on Proust and no study of Second Empire retailing techniques can bypass him. For the Arcades Project is, in a sense, so all embracing that it is inevitable that Knoop too should align Benjamin’s comments on Scheerbart’s protagonists with the utopian and comic architectural contexts they inhabit. Rigaud-Drayton (another contributor citing Didi-Huberman) starts her reading of Apollinaire’s calligram, Lettre-Océan, through an evocation of Julia Kristeva’s Lacanian slant on the process of self-abjection and self-silencing, but also references Donald Kuspit’s Psychostrategies of the Avant-Garde (2000). To negotiate these eclectic theoretical assumptions is to be reminded that the postmodern context of current critical enquiry refuses the constraints and the risks of certainty, opening up perspectives rather than foreshortening them.

The articles are equally varied in their range and intensity of focus. Rigaud-Drayton and Waters are each concerned, respectively, with one or two poems. Pieri too has, at the heart of her study, a single text to elucidate. Its visual impact crucially depends, however, on unravelling the layers of its biographical, intellectual, editorial, and pictorial intersections. Knoop works from the descriptions of a mere twenty-two page novel, albeit a masterpiece of serious humor, to the analogous designs of a number of real-life architects inspired by its fantastic inventions. Larkin explores Robert de Saint-Loup’s role as a portrait photographer in A la recherche du temps perdu in order not only to track the vicissitudes of his relationship with his mistress, Rachel, but also to posit an exemplary instance of Proust’s understanding of the subjectivity of perception through time. Baldwin’s complementary essay, apparently devoted to the description of one fountain at Saint-Cloud, however famous, counterpoints photographic and pictorial images within the spectrum of the straightforwardly referential and the semantically replete, arguing that Proust’s conception of the applications of photography suggests an alternative to Panofskyian identificatory certitudes and should not be too easily equated with the insufficiencies of voluntary memory. On the other hand, Grigorian covers a panoply of paintings by Gustave Moreau in establishing the context in which to resituate Valery Bryusov’s poetry, as well as test a more general proposition in respect of the transfer of myth from one sign system to another. Best’s study of two particular illustrated magazines accommodates the socioeconomic background and ideological presuppositions of feminine knowledge. When considered in tandem, there are, in effect, two studies on Surrealism: Kent’s reflections on modern exhibition strategies direct us back to the work of both Josep Carbonell i Gener (and his associates in L’Amic de les Arts) and Breton; and the latter shadows the mirroring relationship of Miller and Brassaï, in Blinder’s addition to the field so interestingly mapped by Clive Scott’s Street Photography: From Atget to Cartier-Bresson (2007). Fromet de Rosnay, Madloch, and Nikitina are all concerned, to a greater or lesser extent, with the pragmatic challenges of reading the visual.

There are nevertheless common preoccupations across this exceptional diversity of perspectives. Thematically, the figurations of the feminine reappear in a number of essays: lodged between passivity and predatory threat in the drawings and writing of Burne-Jones and D’Annunzio; between contained and unconstrained sexuality in the contradictions of Parnassian aesthetics and Heredia’s Cleopatra; between femme fatale (yet again) and domestic liquefaction in Rilke; between inaccessible and commercialized; between maiden and whore in Apollinaire; between the Sirens of the latter and those in Moreau’s paintings; and between obsessive consumer and object of consumption in Second Empire fashion plates (and even more appetizing if these are in color), objectified in Proust and eroticized in Miller’s contemplation of Brassaï’s streetwalkers and brothels. At the same time, and not limited to this set of archetypes, the transnational points of reference, even when extended colonially overseas to other cultures (as in Apollinaire’s South American libidinal hallucinations), beg questions about whether the European collective imagination is synonymous simply with the Western one.

Yet the overarching concern of the work in the volume is the very process of visualization. At one level, this is approached as the activity of fictional characters such as Saint-Loup, or of writers confronting, and reacting to, paintings and photographic images. In the case of both, the experience enhances our own understanding. At another, this visualization demands of the reader or critic an awareness of the image-making process itself. And it is surely not by chance that so many of the most gifted of those demonstrating such self-consciousness, in the midst of picturing, are themselves both writers and artists, possessed of doubly graphic imaginations. The materiality of the text is no abstraction when practiced by an Apollinaire or the constructivists. Rigaud-Drayton’s reading of the former’s Lettre-Océan, for example, proceeds through the extraordinarily adept interplay of image, register, and phonetic weight, while Nikitina shows us in Russian poetry the facture, as art historians term it, of the words on the page. In the novel as a genre, ekphrastic insertions remain the most conscious of visual evocations. But, as the case of Proust underlines (with unspoken implications for critics describing works of art without recourse to the aptly named visual aid of full-size and full-color illustrations), these are often more problematic than they might appear at first sight, even for readers endowed with a musée imaginaire as encyclopaedic as his own. For Hubert Robert’s fountain is indeed transposed and moved—literally—to another park, as well as reconfigured in another language. If the perspectives of this book are comparative, its insights are located not in analogies and metaphorical superimposition, but, rather, in the gaps between conjunctions and in the refractions of displacement.

Works Cited

Baldwin, Thomas. "Photography and Painting in Proust’s A la recherche du temps perdu." Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 76-87.

Barthes, Roland. The Fashion System. Trans. Mathew Ward and Richard Howard. Berkeley: U of California P, 1990.

Barthes, Roland. Système de la mode. Paris: Seuil, 1957.

Benjamin, Walter. Gesammelte Schriften. Ed. Rolf Tiedemann and Hermann Schweppenhäuser. Frankfurt: Suhrkamp, 1977.

Best, Kate Nelson. Text and Image in Fashion Periodicals of the Second French Empire. Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 101-14.

Blinder, Caroline. Images of Paris in the Work of Brassaï and Miller. Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 48-59.

Bowra, C. M. The Creative Experiment. London: Macmillan, 1949.

Bowra, C. M. The Heritage of Symbolism. London: Macmillan, 1943.

Bryson, Norman. Word and Image: French Painting of the Ancien Régime. Cambridge: Cambridge UP, 1981.

Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. London: Routledge, 1993.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. London: Routledge, 1999.

Cooke, Peter. Gustave Moreau et les arts jumeaux. Peinture et littérature au dix-neuvième siècle. Bern: Peter Lang, 2003.

Didi-Huberman, Georges. Devant l’image. Questions posées aux fins d’une histoire de l’art. Paris: Minuit, 1990.

Dubois, Philippe. L’Acte photographique et autres essais. Paris: Nathan, 1990.

Florence, Penny. Mallarmé, Manet, and Redon: Visual and Aural Signs and the Generation of Meaning. Cambridge: Cambridge UP, 1986.

Florence, Penny. Mallarmé on CD-ROM. Un Coup de dés jamais n’abolira le hasard. Oxford: Legenda, 2000.

Fromet de Rosnay, Emile. Science and Symptom from Mallarmé to the Digital Poet. Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 184-97.

Gamboni, Dario. La plume et le pinceau. Odilon Redon et la littérature. Paris: Minuit, 1989.

Grigorian, Natasha. Bibliography for the Study of Text and Image in Modern European Culture. Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 201-11.

Grigorian, Natasha. The Symbolist Context of the Siren Motif in Moreau’s Painting and Bryusov’s Poetry. Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 32-47.

Jobling, Paul. Fashion Spreads: Word and Image in Fashion Photography since 1980. Oxford: Berg, 1999.

Karpeles, Eric. Paintings in Proust: A Visual Companion to In Search of Lost Time. London: Thames and Hudson, 2008.

Kent, Alicia. Text-Image Relations in French and Spanish Surrealist Literary Reviews from the 1920s and 1930s. Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 143-56.

Knoop, Christine. "Architecture and Utopia in Scheerbart’s Rakkóx der Billionär." Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 115-29.

Kuspit, Donald. Psychostrategies of the Avant-Garde. Cambridge: Cambridge UP, 2000.

Larkin, Áine. "Photography in Proust’s A la recherche du temps perdu." Text and Image in Modern European Culture. Ed. Natasha Grigorian, Thomas Baldwin, and Margaret Rigaud-Drayton. West Lafayette: Purdue UP, 2012. 88-98.

Leslie, Michael. Editorial. Word & Image: A Journal of Verbal/Visual Enquiry 1 (1985): 1-2.

Madloch, Joanna. "How to Read a Poetic Photo-Text." Text and Image in Modern