Imagetexts

Loki fandom actively negotiates this potential conflict between character as text (interpretations of Loki by those with textual authority, such as film writers, directors, and actors, and comic artists and authors) and as primarily image (in the form of visual representations repeated across Tumblr).

This article elucidates the distinct relationship between Frankétienne's spiral writing and Ilya Prigogine and Isabelle Stengers' contemporary chaos theory demonstrating that chaos theory is an important paradigm to consider in literary analysis of the twentieth and twenty-first century. The open-ended nature of Frankétienne's spiral interprets the Arrow of Time as proposed by Prigogine and Stengers; that is, that time is not reversible and the future and the past do not have a direct, linear relationship. In essence, Prigogine and Stengers proposed that order evolves out of chaos. Furthermore, the fractalized, noisy, chaotic schizophony illustrated in his works imitates the bifurcation process in chaos theory when a system, far from equilibrium, undergoes self-organizing iterations from chaos to either order or more chaos. As a result, this analysis will examine how two of Frankétienne's works, Ultravocal and H'Éros-Chimères, challenge the limits of traditional genre theory, and will show that his schizophonic writing exists in a state 'far from equilibrium' allowing a deleuzian minor language and literature to be exposed.

En este artículo se lleva a cabo un ensayo de análisis comparatista entre la fotografía de Alberto García-Alix y la poesía de Jenaro Talens a propósito de la colaboración de ambos autores en el libro Lo que los ojos tienen que decir (Cátedra, 2014). El trabajo se fundamenta metodológicamente en una teoría radical de la intermedialidad y en los conceptos de imagentexto (WJT Mitchell 1994, 2019) y de iconotexto, término con el que el mismo Talens designa una serie de libros en los que su poesía ha dialogado en el tiempo con la imagen visual. A partir de una serie de categorías poéticas comunes (la articulación discursiva del sujeto, el deseo y la mirada constructora como fuerzas creadoras y la imagen poética como espacio común a fotografía y palabra poética) y de una serie de técnicas fotográficas que son simuladas y adaptadas por el poeta (encuadre, fuera de campo, profundidad de campo, exposición a la luz) este libro ofrece un caso extraordinario de resistencia a la estética realista, apostando por una concepción fuertemente material y espacial, abierta al misterio y comprometida en la deconstrucción de toda posible autobiografía o autorretrato en sentido referencial estrecho.

This article explores the complex nature of Mithriac images, and the important role images have played in the Mithras cult. The  rest part of the article reflects upon the role of the Mithraic images. The preference of the visual mode of expression is justified by the double nature that cult images have embodied: cultic and votive. In the absence of religious texts, the highly standardized iconography of Mithraic images served didactic purposes, and moreover, to establish a common cultural identity among the cult members. Stone medallions, carried about and transferred to considerable distances, are further evidence of the overall coherence of Mithraic visual codes. Both cult icons and miniature stone medallions testify to the primacy of the images, and, as argued in the second part of the article, to the essentiality of the refined dynamics of migration of objects, ideas, and meanings. Dominated by images, Mithraic culture is treated as an example of ‘the pictorial turn.’

An adaption of W. J. T. Mitchell's term "imagetext" to explore critical visuality in poetry reading, making, and teaching. An expansion of the term "visual poetry" and an investigation of the possibilities for textimage hybridity. Authors discussed include Claudia Rankine, Emily Dickinson, Jennifer Firestone, Paolo Javier, Douglas Kearney, Kate Greenstreet, Jen Hofer.