Holes, Cracks, Fissures and "True Blood": the Undead and Social Networks

Charlaine Harris’s Sookie Stackhouse novels may be a “great mix of horror, romance, drama, comedy and sex,” however, the first season of the television series True Blood complicates the narrative with its insistent portrayal of how media networks shape characters’ identities.

Seeing and Believing in Dostoevsky's "The Idiot"

At the heart of Fyodor Dostoevsky's great, and murky, novel The Idiot lies a painting: Hans Holbein's naturalistic devotional masterpiece Der Leichnam Christi im Grabe (The Corpse of Christ in the Grave, 1521).

Back to the Tableau or the Gerontoscopy of Wounded Men

To read a picture book for children in the name of the imaginary of childhood is to subscribe to a particular construct of the album de jeunesse, or what in English is called the picture book, which is, after all, just a kind of book marketed to chiIdren.

The Brandywine School and Comic Art

William Randolph Hearst's art collection is today all but forgotten, and the motion pictures he produced are unknown to all but scholars of the history of film. However, the illustrations for his newspaper’s journalistic pages played an immediate political and historical role and continue to be reproduced.

The Use of Haiti’s Henri Christophe in the Work of Derek Walcott, Aimé Césaire, and Alejo Carpentier, and his Visual Representation in the Melodramatic Mexican Comic Book Fuego

Henri Christophe was one of Haiti’s most important nationalist and revolutionary figures in the 19th century. His life has been portrayed in different ways by acclaimed writers from the Caribbean such as Cuban Alejo Carpentier, Nobel Prize winner St. Lucian Derek Walcott, and Martinican Aimé Césaire. These acclaimed literary figures transformed this historical figure into the aestheticized protagonist of narratives that represented their own cultural and sociological ideas about the Caribbean.

Gothic Art in Four Romantic Authors

Benjamin Disraeli remarked in 1833 that a key dereliction of modern belief–systems (such as Utilitarianism in political philosophy and Unitarianism in religion) was to omit the imagination. Why did he and other XIXth century authors turn for remedy in this particular regard to Gothic art?

From Japonism to The Lighthouse

Virginia Woolf’s novel To the Lighthouse is undeniably her most art-oriented work in its examination of both writing and painting. Many literary critics have rightly and richly contextualized its imagery and philosophy in Woolf’s understanding of contemporary Impressionist and post-Impressionist art through the theories of her friend Roger Fry in his text Vision and Design.

Make it New(s): Photographic Modernism and the Representation of Contemporaneity in The Canadian Magazine

Between 1893 and 1939, The Canadian Magazine provided Canadian readers with a picture of the country’s transformation into a modern industrialized nation. In the 1920s and 1930s photography progressively invaded the editorial space and became a vital tool for the representation of Canadian modernity.

Imagining the United States in the Photojournalism of Paris Match, 1949-1953

In March 1949, French media mogul Jean Prouvost launched Paris Match to be a French language equivalent of the U.S. American magazine Life that could carry its weight through its mixture of large photographs and accompanying pithy prose. In Paris Match’s infancy, France faced a turbulent, exciting period of reconstruction and reconciliation after the Second World War, which was bolstered by cultural, economic, and political assistance from the United States government’s Marshall Plan (1948-1953).

Creating Kurdistan: The Role of Photography as Discursive Documents

This paper will use Susan Meiselas’ Kurdistan: In the Shadow of History to explore a socially engaged representation of the Kurdish people that is eclectic and relational in its formation. Meiselas’ Kurdistan can be thought of a relational in its practice, where the understanding of aesthetics shifts from the formal qualities of the image to be understood as the formation of relations between the image and its audience. This helps to move the debate beyond the critique of representation, seeking to reinvest these practices with a social agency.

Anglais