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Interfaces Image Texte Language 38 | 2017 Crossing Borders: Appropriations and Collaborations Traversée des frontières - appropriations et collaborations Electronic version URL: http://journals.openedition.org/interfaces/305 DOI: 10.4000/interfaces.305 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 1 January 2017 ISSN: 1164-6225 Electronic reference Interfaces, 38 | 2017, “Crossing Borders: Appropriations and Collaborations” [Online], Online since 01 June 2018, connection on 06 January 2021. URL: http://journals.openedition.org/interfaces/305; DOI: https://doi.org/10.4000/interfaces.305 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. INTERFACES INTERFACES IMAGE TEXTE LANGUAGE IMAGE TEXTE LANGUAGE CONTENTS CROSSING BORDERS: Editors’ foreword APPROPRIATIONS AND COLLABORATIONS Véronique PLESCH 38 VOL On Appropriations Virginia RAGUIN An Túr Gloine (Tower of Glass) at the Newton Country Day School of the Sacred Heart John A. TYSON Signals Crossing Borders: Cybernetic Words and Images and 1960s Avant-Garde Art - Marie Thérèse ABDELMESSIH INTERFACES “Strategies of Engagement in Using Life: A Multimodal Novel” Christelle SERÉE-CHAUSSINAND Lin et lignes retissés : De la réappropriation de l’histoire dans « Cloth » de Rita Duffy et Paul Muldoon Catherine MARCANGELI Adrian Henri – Total Artist Michael PHILLIPS Blake & Shakespeare Aaron SEIDER Allure without Allusion: Quoting a Virgilian Epitaph in a 9/11 Memorial - Thomas L. DOUGHTON Text, Image and the Discourse of Disappearing Indians In Antebellum American Landscape Painting 2017 Brittain SMITH Textual Illustration Of Images In Claudio Cambon’s Shipbreak REVUE RECONNUE PAR LE CNRS Parnassus COLLEGE OF THE HOLY CROSS Award UNIVERSITÉ PARIS DIDEROT PRIX: 40 € / $ 50.00 US - ISBN - 978-0-9831752-5-4 UNIVERSITÉ DE BOURGOGNE - Dijon 38 Instances éditoriales / Editorial Board Revue éditée par / Journal published by: the College of the Holy Cross (Worcester, Mass., USA), Université Paris-Diderot and Université de Bourgogne-Franche-Comté, UBFC) Fondateur / Founding editor: Michel Baridon (Université de Bourgogne) Chief editors / rédacteurs en chef : Maurice A. Géracht (Holy Cross), Sophie Aymes (UBFC), Comité de rédaction / Editorial board: Marie-Odile Bernez (UBFC), Bénédicte Coste (UBFC), Clémence Follea (Université Paris-Diderot), (Véronique Liard (UBFC), Fiona McMahon (UBFC), Christelle Serée-Chaussinand (UBFC), Brittain Smith (Holy Cross), Shannon Wells-Lassagne (UBFC) Maquette / Layout design : Sharon Matys (Holy Cross) La revue Interfaces a été fondée en 1991 par un groupe d’enseignants du département d’anglais de l’université de Cover Art and Art Piece : Claudio Cambon Bourgogne qui comprenait Michel Baridon (rédacteur en chef jusqu’en 2001), Yves Carlet (aujourd’hui à Montpellier), Couverture / Cover design : Sharon Matys (Holy Cross) Jean-Pierre Durix (Université de Bourgogne), François Pitavy (aujourd’hui Emérite), Jean-Michel Rabaté (aujourd’hui Responsable d’Édition / Copy editor: Pamela Reponen (Holy Cross), Abigail Kehoe ’17 à Philadelphie), Michel Ratié (Université de Bourgogne). Book Review Editors: Christopher Dustin (Holy Cross), Fiona McMahon (Université de Bourgogne- Franche-Comté) Treasurer & Circulation Officer: Christelle Serée-Chaussinand (Université de Bourgogne- Franche-Comté) Constatant le rôle de la culture visuelle dans notre civilisation, ces enseignants souhaitaient élargir le champ et les méthodes de leur enseignement en explorant la relation image/langage. Afin d’envisager cette relation sous l’angle Comité scientifique / Advisory board le plus large possible, ils souhaitaient ne pas la limiter aux échanges entre les arts et la littérature mais l’étendre à la Stephen Bann (University of Bristol), Catherine Bernard (Université Paris-Diderot), Pascale Borrel (Université Rennes 2), linguistique et à l’épistémologie. Johanna Drucker (UCLA, University of California, Los Angeles, États-Unis), Julie Grossman (Le Moyne University, États- Unis), John Dixon Hunt (University of Pennsylvania, États-Unis), Philippe Kaenel (UNIL, Université de Lausanne, Suisse), La revue, qui est bilingue (français/anglais), a bénéficié, dès l’origine, du concours d’enseignants-chercheurs qui Liliane Louvel (Université de Poitiers), Frédéric Ogée (Université Paris-Diderot),Veronique Plesch (Colby College, États- approuvaient sa démarche et ses objectifs: Maurice Géracht, professeur au College of the Holy Cross, Worcester, Unis), Jean-Michel Rabaté (University of Pennsylvania, États-Unis),Gabriele Rippl (UNIBE, University of Bern, Suisse), Massachusetts, États-Unis, et Frédéric Ogée (Université Paris Diderot, Institut Charles V) qui reprenait la tradition du Monique Tschofen (Ryerson University, Canada). séminaire de civilisation d’André Parreaux dans cette université. Correspondance éditoriale et diffusion / Editorial correspondence and ordering information La 3° de couverture présentait la revue dans des termes qui la définissent toujours: Interfaces est une revue annuelle, illustrée et bilingue, qui prend pour champ l’interface, la surface de partage, entre deux moyens d’expression différents François Brunet Maurice A. Géracht Sophie Aymes mais connexes: l’image et le langage. Directeur du LARCA UMR 8225 College of the Holy Cross UFR Langues et Communication Univ. Paris Diderot, UFR Etudes Anglophones 01610 Worcester, Mass Université de Bourgogne Franche-Comté Interfaces a obtenu la reconnaissance du CNRS en 1995. françois.brunet@univ_paris_diderot.fr USA 2 boulevard Gabriel Case 7046 [email protected] 21000 Dijon In 2010 Interfaces received the “Parnassus Award for Significant Editorial Achievement” from the Council of Editors 5 rue Thomas Mann [email protected] of Learned Journals. 75205 Paris Cedex 13 i I NTERFACES I MAGE T EXT E L ANG U AGE N° 38 CROSSING BORDERS: APPROPRIATIONS AND COLLABORATIONS Edited by Maurice Géracht & Brittain Smith College of the Holy Cross, Mass. Université Paris Diderot Université de Bourgogne-Franche-Comté Revue reconnue par le CNRS Parnassus Award ii Interfaces 38 (2016-2017) iii CROSSING BORDERS: APPROPRIATIONS AND COLLABORATIONS TABLE DES MATIÈRES / TABLE OF CONTENTS Véronique PLESCH On Appropriations ................................................................................................................... 7 Virginia RAGUIN An Túr Gloine (Tower of Glass) at the Newton Country Day School of the Sacred Heart ................................................................................................................ 39 John A. TYSON Signals Crossing Borders: Cybernetic Words and Images and 1960s Avant-Garde Art ................................................................................................... 65 Marie Thérèse ABDELMESSIH “Strategies of Engagement in Using Life: A Multimodal Novel” ....................................... 105 Christelle SERÉE-CHAUSSINAND Lin et lignes retissés : De la réappropriation de l’histoire dans « Cloth » de Rita Duffy et Paul Muldoon ................................................................... 127 Catherine MARCANGELI Adrian Henri – Total Artist .................................................................................................. 139 Michael PHILLIPS Blake & Shakespeare ........................................................................................................... 157 iv Interfaces 38 (2016-2017) Aaron SEIDER Allure without Allusion: Quoting a Virgilian Epitaph in a 9/11 Memorial ......................... 173 Thomas L. DOUGHTON Text, Image and the Discourse of Disappearing Indians In Antebellum American Landscape Painting ..................................................................... 195 Brittain SMITH Textual Illustration Of Images In Claudio Cambon’s Shipbreak ......................................... 223 1 EDITORS’ FOREWORD INTERFACES: CROSSING BORDERS: APPROPRIATIONS AND COLLABORATIONS Robert Rauschenberg, painter, sculptor, photographer, performance artist, is associated with one of the mid-20th century’s art world’s audacious crossing of borders, of total appropriation, of complete collaboration when he executed “Erased de Kooning Drawing, Robert Rauschenberg, 1953.” The piece was lettered as just quoted by Jasper Johns. As is well known, the project was understood and supported by de Kooning, who, if at first did not like the idea, finally gave Rauschenberg a favorite, multi-media drawing difficult to erase, as it was an important piece for both artists. Rauschenberg’s projects always crossed borders; here again to test fundamental assumptions, and even a technical problem: Could drawings be made by erasing their markings, and by extension, need drawing be the foundation of painting? Marcel Duchamp, in appropriating a postcard image of the “Mona Lisa” and placing a mustache on the iconic face, as well as in re-framing everyday found objects as ready- made art, had already raised some questions about appropriations and the nature of art. Unlike Duchamp, Rauschenberg was not in “Erased de Kooning” manipulating commonplace samples of industrial products, but confronting a unique work of art by a living artist of great repute. The “Mona Lisa” sans moustache still hangs in the Louvre behind bulletproof glass. Only modern technology can at SFMoMA re-view de Kooning’s drawings–and also some of de Kooning’s erasures. When Rauschenberg was done, only vague traces of de Kooning’s
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  • Ng Rabbit.Indd

    Ng Rabbit.Indd

    IJUH 6 The International Journal of Urologic History© www.ijuh.org Rabbit Uroscopy and the Virgin Mary with Christ Child Casey K. Ng*, E. Darracot Vaughan, Erich Meyerhoff From the Department of Urology (CKN, EDV, EM), Weil Cornell Medical College, New York, New York *Correspondence: Southern California Permanente Medical Group, 13652 Cantara Street, Panorama City, California; e-mail: [email protected] Introduction: The depiction of a rabbit with a urinary matula on the same page with the Virgin Mary and the Christ child in a medieval text, the Book of Hours, has raised interests among art and medical historians. We will describe the complex interplay between the rabbit, the matula, and the Virgin Mary. Sources: We studied the original illuminated texts from the medieval (ca. 1475) Book of Hours archived in the Morgan Library, New York. We reviewed articles and historical publications from art history and medical literature. Results: The Book of Hours was composed for use by lay people who wished to incorporate elements of monasticism into their devotional life. There was often an amalgamation of religious and secular themes within these illustrated texts. The use of uroscopy to diagnose ailments was prevalent and popular during the Middle Ages and the depiction of a matula was not uncommon in medieval manuscripts. As a result, the urine fl ask came to be identifi ed with and used as a symbol of the physician, much like the caduceus is today. From the fourth century to modernity, the rabbit has been an averter of evil and bringer of good luck. Rabbits functioned as motifs in many medieval manuscripts.