The Harlot, Her Father, and the Parson: Representing and Interpreting Hogarth in the Eighteenth Century

Chapters in this book

1. Frontmatter i
2. Acknowledgments v
3. Contents vii
4. Introduction: Ekphrasis, Iconotexts, and Intermediality – the State(s) of the Art(s) 1
5. Ekphrasis and Theories of Reading Visual Representations
6. Iconolâtrie et iconoclastie de l’écriture libertine 43
7. Ekphrasis as Art Criticism: Diderot and Fragonard’s “Coresus and Callirhoe” 58
8. Ekphrasis and the Mimetic Crisis of Romanticism 78
9. Ecritures de l’image chez Théophile Gautier 105
10. Icono texts: The Eighteenth Century
11. Watteau: The Aesthetics of Pleasure 121
12. Sterne and Fragonard: “The Escapades of Death” 136
13. The Harlot, Her Father, and the Parson: Representing and Interpreting Hogarth in the Eighteenth Century 149
14. La mise en scène de la table de travail: poétologie et épistémologie immanentes chez Guillaume-Thomas Raynal et Alexander von Humboldt 175
15. Icono texts: The Nineteenth Century
16. The Strategic Withdrawal from Ekphrasis in Jane Austen’s Novels 213
17. Appropriating Botticelli: English Approaches 1860–1890 236
18. Entering the Museum of Words: Browning’s “My Last Duchess” and Twentieth-Century Ekphrasis 262
19. Oscar Wilde’s “Impression du matin” – an Intermedial Reading 281
20. Iconotexts: Caricature
21. Text as Design in Gillray’s Caricature 309
22. The Battle of the Signs: Robert Crumb’s Visual Reading of James Boswell’s “London Journal” 324
23. Bibliography 347
24. List of Illustrations 383
25. Notes on Contributors 387
26. Index 391
27. Colour Plates 407
28. 418-420 418