Christina Ionescu | Mount Allison University (original) (raw)
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Papers by Christina Ionescu
Stothard, qui illustra les Lettres d'une Péruvienne pour The Novelist's Magazine en 1782,... more Stothard, qui illustra les Lettres d'une Péruvienne pour The Novelist's Magazine en 1782, réalisa d'abord deux avant-gravures, type de dessins très mal connus car généralement vendus à part. L'article étudie dans le détail ces deux lavis, retrouvés au British Museum, ainsi que les deux gravures correspondantes : maîtrise de l'artiste, ambiance champêtre, mais aussi volonté de réintroduire, par le dessin, la fin, évitée par Graffigny, du roman sur le happy-end du mariage.
Journal for Eighteenth-century Studies, 2008
Books by Christina Ionescu
This volume provides readers and viewers with a mesmerizing and informative glimpse into how the ... more This volume provides readers and viewers with a mesmerizing and informative glimpse into how the early modern world was interpreted by image-makers and presented to viewers during a period that spans from manuscript culture to the age of caricature. The premise of this collection responds to a fundamental question: how are early modern texts, objects, and systems of knowledge imaged and consumed through bimodal, hybrid, or intermedial products that rely on both words and pictures to convey meaning? The twelve contributors to this collection go beyond traditional lines of inquiry into word-and-image interaction to deconstruct visual dynamics and politics—to show how images were shaped, manipulated, displayed, and distributed to represent the material world, to propagate official and commercial messages, to support religious practice and ideology, or to embody relations of power.
Stothard, qui illustra les Lettres d'une Péruvienne pour The Novelist's Magazine en 1782,... more Stothard, qui illustra les Lettres d'une Péruvienne pour The Novelist's Magazine en 1782, réalisa d'abord deux avant-gravures, type de dessins très mal connus car généralement vendus à part. L'article étudie dans le détail ces deux lavis, retrouvés au British Museum, ainsi que les deux gravures correspondantes : maîtrise de l'artiste, ambiance champêtre, mais aussi volonté de réintroduire, par le dessin, la fin, évitée par Graffigny, du roman sur le happy-end du mariage.
Journal for Eighteenth-century Studies, 2008
This volume provides readers and viewers with a mesmerizing and informative glimpse into how the ... more This volume provides readers and viewers with a mesmerizing and informative glimpse into how the early modern world was interpreted by image-makers and presented to viewers during a period that spans from manuscript culture to the age of caricature. The premise of this collection responds to a fundamental question: how are early modern texts, objects, and systems of knowledge imaged and consumed through bimodal, hybrid, or intermedial products that rely on both words and pictures to convey meaning? The twelve contributors to this collection go beyond traditional lines of inquiry into word-and-image interaction to deconstruct visual dynamics and politics—to show how images were shaped, manipulated, displayed, and distributed to represent the material world, to propagate official and commercial messages, to support religious practice and ideology, or to embody relations of power.