language and painting from cubism to concrete poetry /
First Statement of Responsibility
Stephen Scobie.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
Toronto :
Name of Publisher, Distributor, etc.
University of Toronto Press,
Date of Publication, Distribution, etc.
c1997.
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
xiv, 235 p. :
Other Physical Details
ill. ;
Dimensions
24 cm.
SERIES
Series Title
Theory/culture
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references (p. [219]-227) and index.
CONTENTS NOTE
Text of Note
The supplement of language -- 'We are a man': the narrativization of painting -- Apollinaire and the naming of Cubism -- The gospel according to Kahnweiler -- The semiotics of Cubism -- Metaphor and metonymy in Cubism and Gertrude Stein -- The window frame: Delaunay and Apollinaire -- Signs of the times -- Gadji Beri Bimba: abstraction in poetry -- Models of order: Ian Hamilton Finlay.
0
SUMMARY OR ABSTRACT
Text of Note
The author's concern is both with a general theoretical question - the relationship between painting and poetry, between the visual and the verbal - and with a specific period of artistic history - the early years of the twentieth century, when Cubism flourished. Rather than seeing any conflict or irreconcilable division between painting and poetry, Scobie proposes, as a model for their relation, the Derridean notion of 'the supplement.' This relation is grounded in the pervasiveness of language, in the ways in which language surrounds, imbues, structures, and supplements both verbal and nonverbal images.