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Heiner Zimmermann

related to his opposition to modernism’s rejection of the referentiality of pictures, its insistence on the gap between the picture and the word. As he stresses he is convinced that, like his own drawings, ‘toute peinture, même la plus abstraite, contient du récit’.3 Does he mean by this that every painting or drawing is preceded by thought which necessarily expresses itself via language? In this light it makes little difference whether the author is interrogating a narrative in the form of a text or of a picture. Not so for his audience. An ‘iconotext’ (i.e. a text

in Howard Barker’s Art of Theatre
Painting and music in The Bloody Chamber
Marie Mulvey-Roberts

Liliane Louvel calls ‘iconotexts’.11 Music is the familiar, reassuring realm to which the distressed bride tries to go back after her visit to the bloody chamber: ‘I thought […] that I could create a pentacle out of music that would keep me from harm for, if my music had first ensnared him, then might it not also give me the power to free myself from him?’ (Carter, 1995: 133). As such, it becomes a talisman or even a pentagram, a drawing: in spite of its temporal quality, it delimits a space, a magic area in which she tries to feel safe. She even wishes it could become

in The arts of Angela Carter
Abstract only
Helen Barr

text both from the place where that illustration appears and from textual and cultural knowledge further afield. For discussion of this term, and the related concept of ‘iconotext’, see Peter Wagner, Reading Iconotexts: From Swift to the French Revolution (London: Reaktion, 1995), pp. 11–13. 3 Blanch and Wasserman, From Pearl to Gawain, pp. 65–110. This chapter is an extremely rich study of the iconographical and gestural position of the work of the treatment of hands both in the Gawainpoet’s works and in wider manuscript illustration. 4 For instance, he dries

in Transporting Chaucer