Between the Visible and the Legible: Raymond Pettibon’s “I” Caught in Translation

Reifenstein, Tilo

dc.contributor.author	Reifenstein, Tilo
dc.contributor.editor	Deckert, Mikołaj
dc.contributor.editor	Kocot, Monika
dc.contributor.editor	Majdzińska-Koczorowicz, Aleksandra
dc.date.accessioned	2021-10-25T14:15:36Z
dc.date.available	2021-10-25T14:15:36Z
dc.date.issued	2020
dc.identifier.citation	Reifenstein T., Between the Visible and the Legible: Raymond Pettibon’s “I” Caught in Translation, [in:] Moving between Modes. Papers in Intersemiotic Translation in Memoriam Professor Alina Kwiatkowska, Deckert M., Kocot M., Majdzińska-Koczorowicz A. (eds.), Łódź University Press, Łódź 2020, pp. 107-119, doi: 10.18778/8220-191-8.07	pl_PL
dc.identifier.isbn	978-83-8220-191-8
dc.identifier.uri	http://hdl.handle.net/11089/39538
dc.language.iso	en	pl_PL
dc.publisher	Łódź University Press	pl_PL
dc.relation.ispartof	Deckert M., Kocot M., Majdzińska-Koczorowicz A. (eds.), Moving between Modes. Papers in Intersemiotic Translation in Memoriam Professor Alina Kwiatkowska, Łódź University Press, Łódź 2020;
dc.rights	Attribution-NonCommercial-NoDerivatives 4.0 Międzynarodowe	*
dc.rights.uri	http://creativecommons.org/licenses/by-nc-nd/4.0/	*
dc.title	Between the Visible and the Legible: Raymond Pettibon’s “I” Caught in Translation	pl_PL
dc.type	Book chapter	pl_PL
dc.page.number	107-119	pl_PL
dc.contributor.authorAffiliation	York St John University	pl_PL
dc.identifier.eisbn	978-83-8220-192-5
dc.contributor.authorBiographicalnote	Tilo Reifenstein, PhD, is Lecturer in Critical Studies at York St John University. He is a trustee for the UK-based Association for Art History (AAH) and the organisation’s Hon. Secretary. He recently co-edited the “Between Sensuous and Making-Sense-of” special issue of the Open Arts Journal (2019). Current publications include “Ideal Identities and Impossible Translations: Drawing on Writing and Writing on Drawing” in Imaging Identity: Text, Mediality and Contemporary Visual Culture (eds. Johannes Riquet & Martin Heusser) (Palgrave, 2019), “The Graphics of Ekphrastic Writing: Raymond Pettibon’s Drawing-Writing” in Ekphrastic Encounters: New Interdisciplinary Essays on Literature and the Visual Arts (eds. David Kennedy & Richard Meek) (Manchester University Press, 2018) and “Drawing the Letter” in Drawing: Research, Theory, Practice (vol. 3, no. 2, 2018).	pl_PL
dc.references	Armstrong, David Scott, and Patrick Mahon (2008). “After the Grave: Language and Materiality in Contemporary Art”. Visible Language 42 (1): 4–13.	pl_PL
dc.references	Barthes, Roland (1974). S/Z. Trans. Richard Miller. New York: Hill and Wang.	pl_PL
dc.references	Butor, Michel (1994). “Bricolage: An Interview with Michel Butor”. Interview by Martine Reid. Trans. Noah Guynn. Yale French Studies 84: 17–26.	pl_PL
dc.references	Derrida, Jacques (1987). The Truth in Painting. Trans. Geoff Bennington and Ian McLeod. Chicago: University of Chicago Press.	pl_PL
dc.references	Derrida, Jacques (1993). Memoirs of the Blind: The Self-Portrait and Other Ruins. Trans. Pascale-Anne Brault and Michael Naas. Chicago: University of Chicago Press.	pl_PL
dc.references	Derrida, Jacques (1994). “Interview by Peter Brunette and David Wills. The Spatial Arts: An Interview with Jacques Derrida”. In: Deconstruction and the Visual Arts: Art, Media, Architecture. Eds. Peter Brunette and David Wills. (9–32). Cambridge: Cambridge University Press.	pl_PL
dc.references	Derrida, Jacques (2007). “The Retrait of Metaphor”. Psyche: Inventions of the Other. Eds. Peggy Kamuf and Elizabeth Rottenberg. Trans. Peggy Kamuf. Vol. 1. (48–80). Stanford: Stanford University Press.	pl_PL
dc.references	Drucker, Johanna (1991). “Typographic Manipulation of the Poetic Text in the Early Twentieth Century Avant-Garde”. Visible Language 25 (2/3): 231–256.	pl_PL
dc.references	Giovannelli, Alessandro (2012). “Goodman’s Aesthetics”. The Stanford Encyclopedia of Philosophy (Summer 2010 edition). Ed. Edward Zalta. Plato. stanford.edu. [Web. 18 Oct. 2012].	pl_PL
dc.references	Goodman, Nelson (1976). Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Hackett.	pl_PL
dc.references	Green, Jonathon (2006). “X-Rated: What Is so Special about the Letter ‘X’”. Independent.co.uk. [7 Nov. 2006. Web. 1 Nov. 2013].	pl_PL
dc.references	Ingold, Tim (2007). Lines: A Brief History. Oxon: Routledge.	pl_PL
dc.references	James, Carol Plyley (1985). “‘No, Says the Signified’: The ‘Logical Status’ of Words in Painting”. Visible Language 19 (4): 439–461.	pl_PL
dc.references	Lapacherie, Jean-Gérard (1994). “Typographic Characters: Tension between Text and Drawing”. Trans. Anna Lehmann. Yale French Studies 84: 63–77.	pl_PL
dc.references	Leenhardt, Jacques (1994). “See and Describe: On a Few Drawings by Stendhal”. Trans. John Thompson. Yale French Studies 84: 81–94.	pl_PL
dc.references	Mitchell, W. J. Thomas (1980). “Spatial Form in Literature: Toward a General Theory”. Critical Inquiry 6 (3): 539–567.	pl_PL
dc.references	Reid, Martine (1994). “Editor’s Preface: Legible/visible”. Yale French Studies 84: 1–12.	pl_PL
dc.references	Roudiez, Leon (1975). “Notes on the Reader as Subject”. semiotext(e) I (3): 69–80.	pl_PL
dc.references	Roudiez, Leon (1978). “Readable/writable/visible”. Visible Language 12 (3): 231–244.	pl_PL
dc.identifier.doi	10.18778/8220-191-8.07