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Intersections, Interferences, Interdisciplines

Literature with Other Arts

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Edited By Haun Saussy and Gerald Gillespie

This volume advances the study of how the high arts and literature are reciprocally illuminating and interactive. Seventeen scholars from North America, Asia, Africa, and Europe demonstrate the dynamics of cross-referentiality and mixtures involving also newer and popular arts and media: photography, film, video, comics, dance, opera, computer imaging, and more. They consider an expanded universe of discourses embracing contemporary science as well as traditional subject matters. Discussions of theoretical and methodological approaches keep company here with intensively focused case studies of works in which discourses and media establish new relationships. Together, the chapters constitute a dazzling introduction to the diverse realm of imaginative products that the human mind can conjure in pondering the «when», «where», and «how» of existence.
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Orality Onto Paper and Into Action

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Margaret R. HIGONNET

University of Connecticut, Storrs

The emergence of a market in “moveable books” for children in the nineteenth century, at a moment that roughly coincided with the Victorian “golden age” of children’s literature, has been studied primarily within two kinds of historical frame: biographies of creators or of publishers, and technical studies of the long evolution of paper engineering from mechanical features in medieval manuscripts to the proliferation of paper art in books today. Devotees of these inventions have included Walter Benjamin, Maurice Sendak, and Robert Sabuda, as well as academics, librarians, and booksellers. The story of this development can be found on a number of web sites, where videos enable viewers to observe the movement intrinsic to the genre.1 Collectors and creators of moveable books have been fascinated by the variety of technical paper mechanisms, whose surviving examples in early manuscripts include volvelles or turning wheels with pointers and strings for making calculations. In successive centuries, printers invented unfolding flap books, “tunnel” peepshows that offer 3-D perspective, “venetian blinds” or “slat” books whose image changes when a tab pulls hidden slats out into view, and other pull-tabs that articulate gears to show moving figures; the nineteenth-century introduced panoramas, pull-up dioramas, and pop-ups whose scene emerges when a page is opened (see Montanaro xi). Moveable devices originally served to present religious, astronomical, mathematical, anatomical, or even magical information. Critics usually assume that until the late eighteenth century, such paper engineering addressed adults,...

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