https://www.sciencedirect.com/science/article/pii/S1877042813000736

Hi

I think The Relationship Between Literature and visual art in itself is an art form.

https://www.sciencedirect.com/science/article/pii/S1877042813000736

Recently we turned to eye tracking as a very relev

That's a good question

Hola Maite,

Tienes que explorar ekfrsasis.

Estoy in España si quieres contactarme.

Yes, you can read Romanticism art Movement. Literature provided you historical, philosophical, and aesthetical outlook regarding any art which makes your research interesting, and factual. Literature also gives you information about what has been already done in the desired field and helps you to develop the scope for further research. You can read about a work of art, analyze it, and reinterpret it in the relevant contexts.

This largely depends on the more specific areas that you are researching of course. There are correlations between literary theory and art/aesthetic theory, and both can and are often utilized for art and literature, so you can draw correlations between the two. In addition, I tend to use theory that already exists in the interdisciplinary realm, like Derrida’s hauntology, or Kristeva’s abjection(two of my favorite). The balance between the two fields Is really up to you and how you approach your research as long as one isn’t an afterthought, in which case you need to question whether it belongs in the project. I hope that helps!

Intermedialities.

Maite, busca textos donde Agamben habla de las artes plásticas (el más reciente es sobre Pulcinella y Tiépolo). Hay allí muchos ejemplos de lo que puedes lograr. Del lado más del museo, Luis Pérez Oramas, que fue curador de arte latinoamericano para el MoMA en Nueva York, tiene muy buenos ensayos sobre pintura y arte moderno donde la literatura es clave.

La lista de lo que se puede hacer es larguísima.

Zorte on...

Jacinto Fombona Eskerrik asko!

Ahora mismo lo miro.

Hi Maite: Indeed, there is certainly a close interrelation between literature and all other arts. They might vary in form, but it is the treatment that brings them together. I often find such work quite interesting as it embarks on areas where a scholar may thematically and aesthetically explore subjects of common interest. All arts are inseparable; a scholar would not seek 'what one says' but 'how one says it.' Good luck. Best.

Sorry for the length, but I want to help, and, more importantly, I also want to learn more.

¡Hola, Maite!

I'm following this thread, because, like you, I'm also a PhD student in (wrapping up) my first year working on a similarly interdisciplinary project. In my case, it's the moving image and popular music, generally speaking, and each of those can be broken down further.

Some ideas that I've been looking at include INTERMEDIALITY. Chapter Intermediality

As you can see, that research center bumps up into MULTIMODALITY, which seems to me a kind of precision tool if you look at the recent use of technology to look at the semiotics involved in multimodal texts. Names I often see include foundational figures like Bolter and Grusin (remediation) and Van Leeuwen and Kress (critical discourse analysis), but more recent thinkers like Kay L O'Halloran (multimodal discourse analysis), John Bateman (works a lot in film), and David Machin (works with music). I haven't read much in this area, because the basis in linguistics and social semiotics (via Michael Halliday) and the use of technology for a kind of digital semiotics is too technical for me. But it looks like a really powerful approach.

EKPHRASIS is literally a classic(al) idea, and while I don't think I can use it for my entire PhD, it has been useful for me in thinking of a particular set of BTS videos and I was able to present this paper at a conference. I did have to change things a bit though to expand the concept from its original use as "verbal descriptions of visual art" to something, well, intermedial.

This is pretty much what I can recommend; there are other areas like audiovisual studies, music iconography, ethnomusicology, choreomusicology, performance studies, and music video studies, but that's less applicable to your focus on text and visuals.

Methods is tough. Someone with more experience will be more helpful than myself, but I think a strong grasp of the concept will lead to particular reading strategies guided by certain "principles" that your work will uphold. For example, in my case, people might notice that I didn't mention Henry Jenkins and transmedia. While I do recognize the value of his work and he's a regular presence in my class discussions, the transmedia argument seems to me (and again, I might be wrong) to foreground common elements across different media (like narrative, which was my original topic) more than the differences between them, which is my interest.

So, I guess the question of balance is something you have to commit too. You can make your work into ADAPTATION STUDIES, which I think presupposes a source text and a secondary text, and that remains a viable approach (Hutcheon's A Theory of Adaptation is a good text, but I haven't read the latest literature). Or you can choose to do something more "balanced," as you put it.

Hope this helps, and I'd love for this conversation to continue too! I am still trying to work with a really complicated interdisciplinary topic myself!

Thank you Salih Mahdi Hameed Alshukri !

Thank you for the time you dedicated to the post Andrew Ty ! It has been really helpful to me. Also, your research topic seems very interesting, I feel interdisciplinary approaches are becoming more and more important today. Looking forward to reading your publications in the future!

Hello Maite,

Your question is beautiful, and most probably, it has a no-less beautiful answer.

We do know what literature is about, but if you want to do interdisciplinary or transdisciplinary research regarding literary and visual art, you have first to decide explicitly to WHICH visual art you wish to compare literature. This issue is crucial because, during the past century, we have quite a few visual arts. The problem becomes especially intricate if you want to compare literature to painting. The trouble is that in painting, there are two mutually exclusive kinds of "paintings"; one is figurative art, and the second is the non-representational visual "arts". Since the beginning of the 20th century, figurative art has been reduced to color and form and mistakenly is called "abstract art" although it is not abstract in any sense of the word and not art but graphic design. The other principal reduction of art is to OBJECT, beginning with Duchamp's urinal.

Because you want to compare literature to visual art, you can do that only in relation to figurative art because it is the only visual art that has linguistic properties, just like literature. Now both arts have symbol systems, syntax, semantics, and even pragmatics. Both share very similar STRUCTURAL properties but the main difference is concerning the levels of abstraction in each. Obviously, linguistic symbols are infinitely more abstract than visual symbols.

In order to justify the claim that you can compare literature only to figurative art but not to so-called 'abstract art' or object-oriented art, you need to show that these 'arts' are not arts but design. for that you need my book: THE CONFUSION BETWEEN ART AND DESIGN: Brain-Tools versus Body-Tools (Vernon Press 2017), which presents about one hundred differences between art and design. after you establish this point, you can move to the deep structure of literature and figurative art. You can find lots of relevant issues both in books about STRUCTURALISM in linguistics and in the second part of my book ART VERSUS NONART: Art out of mind 2003, Cambridge university press. This book is also available in Spanish if you prefer. You can find both books is Amazon.

See https://www.amazon.com/s?k=tsion+avital&ref=nb_sb_noss

Good luck with your thesis,

Tsion Avital

I feel inhibited about giving any answer, as - curiously - I am a professional student of literature and a non-professional but "advanced" collector of art works. I can see e.g. period resemblances at times, but most often the impact of the two activities (though both in a sense "art works") is strong on me, I have difficulty relating the verbal and the visual. I suppose it is particularly the latter that I have great difficulty "putting in words", and hence in firmly relating visual works to verbal ones. Sorry!

It depends on the period end the relationships that you will develop

Maite Luengo Aguirre Interdisciplinary approaches being the order of the day, I believe combining literature and visual arts would fundamentally involve a conceptual clarity regarding the grids of comparison, analysis, and interpretation between these two disciplines.

For instance, in Blake's poetry the written aspect and the visual aspect are so inextricably intertwined that such a study would yield promising results [remember how the copper plates too convey the paradigm shift in sensibility the moment one moves from the Songs of Innocence to Songs of Experience].

On the other hand, if the points of convergence are not cogently explored, the entire effort of combining would seem like two ideas being yoked together by violence, to use the Johnsonian phrase.

Please check out Margarete Landwehr's article 'Introduction: Literature and the Visual Arts: Questions of Influence and Intertextuality' published in the journal College Literature, Vol. 29, Issue 3, pp. 1-16.

Estimada Maite, tu pregunta resulta enormemente atractiva. Entiendo que abordas el estudio comparatista a partir de la reflexión de las artes plásticas y la performance o la instalación, por lo que la opción de Giorgio Agambem como te propone Jacinto Fombona es óptima porque es un autor que merece la pena rastrear en esa instancia. Yo también te aconsejaría textos clásicos como Medios de masas e historia del arte de Juan Antonio Ramírez o Literatura y pintura de Ernest B. Gilman. Y otras aproximaciones a un tema que te va a obligar a bucear en muchos textos teóricos es Word and Image. In Literature and the Visual Arts, editado por Carmen Concilio y María Festa. Pero vamos que tu tema es caudaloso y a pesar de los obstáculos, seguro que llegas a meta, ¡¡mucho ánimo!!

Dear, Maite Luengo Aguirre , I think the works of George Didi Huberman can be very useful

Hola Maite!

I am a visual artists and have collaborated with historians, archeologist, medical scientists, writers and musicians.

The reasons for these collaborations were

different themes which I worked on creating artists’ books (libro de artista).

So may be the sphere of artist’s books would be worthwhile to look into? Actually quite often, strangely enough, are art historians not so acquainted with the mater.

Some of my articles combine literature and visual arts analysis (mostly focusing on the subject of sport).

One of them (in Polish):

Article Motywy sportowe w polskiej sztuce międzywojennej – rekonesan...

I am working on an interdisciplinary study as well, trying to look at narrative jewellery from the point of narratology and literary theory. Thanks to Andrew Ty for pointing out some directions that I did not consider before

You're welcome, Divya. It's all very confusing, and I'm only too glad to help. I wish I had a clearer approach, but I'm hoping to go through this until it all makes sense.

Also, narrative jewellery?! That sounds really fascinating!

I find the subject of interdisciplinarity very interesting, but the question is how to do it?

Dear Maite Luengo Aguirre ,maybe it's not a direct answer to your question but you can take a look at this man https://iljapfeijffer.com/en/biography/ ,he's is a very known dutch writer and poet living in Italy. Last year he started to take daily photographs of his surroundings like a maniac https://www.instagram.com/iljaleonardpfeijffer/

very interesting to see a person wich main profesion is writing starting to photograph

As A. Robert Lee indicates to Maite, ekphrasis is a good way to combine art and narrative. My practical example for this approach is a book review of an anthology of English surrealist poetry, edited by Edward B. Germain, that I wrote for the Rocky Mountain Review of Language and Literature, in which I included in my review a descriptive narrative of the anthology's book cover, which is a surrealist painting of Valentine. My "painting in words" positioned my review at an intersection conjoining painting and poetry!

There can be multiple ways - the most approachable ones being combining literary theory with visual art. Like Freud's uncanny works for a lot of psychological horrors/ thrillers if you are working with a film - Oculus (dir. Mike Flanagan, 2014) being an example. Also, adaptation studies is a whole new field that combines elements of literature with visual arts. Linda Hutcheon has worked extensively on how adaptation as a process comes forth within the literary world.

In addition, you can always look at the basic elements of visual art - dialogues, tropes, certain symbolism, lyrics etc - and see how they can be analysed through theory.

Here I am attaching a link to my paper that looks at Pakistani-Punjabi film characters through a feminist lens.

https://reelpakistan.lums.edu.pk/chhavi-or-dhi-punjabi-action-cinema%E2%80%99s-tussle-female-characterization-0

I also have written papers on adaptation studies and the like. An interdisciplinary approach is always possible, you just have to trust your gut!

In my master project within the performative arts, I used Susan Klein’s concept of kinesthetics and worked with tuning in a choreographed written and staged dialogue with scripted small talk, interwievs, descriptions and concrete poetic elements (felt and visual)

You can search for Erwin Panofsky's opinions about reading images. Iconography with semiotics background can be used for interdisciplinary approaches of literature and visual arts studies.

indeed, that concept is defined as "artistic literature". Must see Kunstliteratur (Letteratura Artistica) by Julius von Schlosser ; " La letteratura artistica" / J. von Schlosser Magnino : Manuale delle fonti della storia dell'arte moderna (Italian) Hardcover – January 1, 1967

"Practice As Research: Approaches to Creative Arts Enquiry", edited by Estelle Barrett and Barbara Bolt (2010) and Andrew McNamara's "Six rules for practice-led research" (2012) give some good practical advice about managing interdisciplinary studies.

https://eprints.qut.edu.au/54808/

Hi,

your concern could find a right answer inside Digital Humanities discipline.

DH, by means adeguate computer modelling, manage quite everything concerning our cultural heritage including visual arts which needs to be shown in the digital word constructing conceptual models with appropriate language at various granularity.

I hope my answer useful to you

gmc

This might help.

I guess you can read in Spanish:

Article El proyecto artístico como relato en el arte contemporáneo: ...

Dear Maite Luengo Aguirre

Art and poetry go hand in hand in Visual Poetry, also termed Concrete/ Pattern poetry. And as you know it is not a modern genre, per se, since it dates from ancient times. I am currently working on a paper that discusses contemporary poetry that relies on the partnership between the visual and the verbal.

you have to combine