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Extra info for Icons, texts, iconotexts : essays on ekphrasis and intermediality
Images throw light on a "latent" memory that is always in danger of being obscured, hidden and displaced. Recently, Pierre Bourdieu has argued that we tend to overlook the large invisible basis that informs the history of ideas ("l'immense socle invisible des grandes pensées"), mainly because the varieties of "habitus" or doxa they display were so self-evident for the contemporaries that they never bothered to record them in documents. 101 Extending my suggestions above, I hold that pictures can be studied meaningfully in an approach combining a historical semiotics with discourse analysis and a shot of deconstruction.
Bryson: Calligram, p. xxv. See Niklas Luhmann's courageous and, indeed, constructive suggestions for a practical use of deconstruction and the possibilities of cross-fertilization this implies for various disciplines. At a time when hermeneutics has become "a method of creating circularity and of putting meaning into a text in order to be able to find it there" (p. 765), Luhmann argues, deconstruction remains the "most pertinent description of the self-description of modern society" (p. 780). : Deconstruction and the Visual Arts.
This article too provides new perspectives on the research in text-image relations, and I can only hope that Pape finds successors in the exploration of a fascinating variety of ekphrasis. 65 3. Perspectives O n e of the many paradoxes surrounding the image in Western culture is the fact that, from the very beginning, it has had a bad press precisely because commentators (ekphrastics, for instance, or philosophers) have felt its great irrational power. In his recent fascinating study of "the life and death of the image," Régis Debray links the genesis of pictures with death, and more precisely with the human wish to overcome the fear of nothingness (le néant) and to preserve what must necessarily decay while domesticating the basic horror presented by the idea of the void.