OOIR: Observatory of International Research

Papers

(The TQCC of Word & Image is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-05-01 to 2024-05-01.)

Article	Citations
Bound images: maps, books, and reading in material and digital contexts	3
Ekphrasis as evidence: forensic rhetoric in contemporary documentary poetry	1
Thaumaturgic visions: Andrea Pozzo’s St Ignatius Corridor	1
“By stages towards what we mean to say:” diegetic rupture as a tool of devotion	1
Mark Twain’s undictionarial Italian: the politics and visual humor of mistranslating newspaper scraps, c.1900	1
There is a poet underneath here: Louise Bourgeois’s Unknown Masterpiece¹	1
The feast of Toxcatl in the Florentine Codex: ekphrasis as etiology and preservation	1
Confronting premature death: Cluny, Arthur Kingsley Porter, and the tomb of Alfonso Ansúrez	0
Suspending ekphrasis: Christopher Marlowe’s ‘Brazen World’ in Part 2 of Tamburlaine the Great and its influence	0
How to write about images from the medieval world: André Grabar and his Byzantium—the case of L’Empereur dans l’art byzantin (1936)	0
The Sèvres Service des Départements and the anxiety of the fragment	0
Performing palettes: Doni, Anguissola, and the origins of poeitic self-portraiture	0
Materiality in perspective: monuments, object relations, and post-war Berlin	0
What we mean when we talk about style: the ‘Redolent’ Eglantine Table (c.1568)	0
Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England	0
The terminus in Late Byzantine literature and aesthetics	0
‘The chicken or the egg?’ Exploring the dynamics of an ekphrastic cycle	0
Fragmentation and bricolage in Victor Hugo’s Hauteville House	0
Flesh made word: sacramental visibility in the Bardi Panel of Santa Croce, Florence	0
Rendering visible through language: writing drawings and the literary portrait in Anne Carson’s Men in the Off Hours	0
“Sculptress Interprets Land’s Spirit”: Elizabeth Wyn Wood, the Group of Seven, and analogy as equivalence	0
The edition of Louise Bourgeois and Robert Goldwater’s letters: work in progress	0
The sediments of history in Napoleonic France	0
Competing ‘iconographies’: Hagia Sophia, ideology, and the construction of a cultural icon then and now	0
Orientation in pictures: multistable spaces in Kafka and Beckett	0

Botanical symbolism in the Hypnerotomachia: botanical signifiers of a humanist handling of interior transformation	0
‘The word’s challenging opposite’: the visual language of Lorcan Walshe’s The Artefacts Project and Museum Pieces	0
Broken guardians: the lamassu and fragmented historical vision in nineteenth-century France	0
Brutal analogies: multiplying Le Corbusiers across global architecture	0
Writing with pictures and depicting with words: a diachronic study of hieroglyphs from pharaonic times, through the Renaissance era to the present	0
Production and design of early illustrated herbals	0
Interview with Maggie Wright, Louise Bourgeois Archive, The Easton Foundation	0
Ezra Pound and Constantin Brancusi: sculptural form and the struggle to ‘make it cohere’	0
Did Bernini’s Ecstasy of St. Teresa cross a seventeenth-century line of decorum?	0
Paperwork and fragmentation in Edgar Degas’s “Bureau Pictures”	0
Médium du portrait, portrait du médium: Les spécificités du pastel dans les discours sur l’art au XVIII^e siècle	0
Plas Newydd’s poetics of exchange: portraiture, poetry, and the intermediality of eighteenth-century gift culture	0
A speaking silence: “universal language” and multilingualism in The Shape of Water	0
At home with the artist: exploring the Louise Bourgeois Archive	0
Chronicles of light and sound: the film-poems of Alfonsina Storni	0
Put yourself in his shoes: embodying the archive in Joe Sacco’s The Fixer	0
On bats and bees: Rubens in the Republic of Letters	0
Allusion and elusion: writing on the Cloisters Cross	0
On the (un)seeable in Wassily Kandinsky’s Klänge	0
Chinese Millets: native soil, the party–state, and art in contemporary China	0
Ikebukuro Montparnasse: an avant-garde community in the era of Taishō democracy	0
Les archives de Louise Bourgeois: ‘J’ai besoin de mes souvenirs. C’est ma documentation. Je veille sur eux’	0
‘Art of confinement’: Samuel Beckett, Alberto Burri	0
‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater	0
A portrait in pieces: Félix Nadar’s La main du banquier D.	0
‘An Hour before the Day’: the dismembered Book of Hours in Elizabeth Siddal’s Clerk Saunders	0
Intermedia poetics in and out of Detroit’s Alternative Press	0
A pro-American perspective on the American Revolution: Johann Heinrich Ramberg’s (1763–1840) adaptations of illustrations by Daniel Chodowiecki	0
Fischer von Erlach and the Habsburg imperial historians	0
Fielding’s prepositional, textual inns	0
Speaking sign or acting device? Reading and using the Christogram in Byzantium	0
Commodified aura from Freddie Montgomery’s perspective in John Banville’s The Book of Evidence	0
The birth of Masaniello: poverty, society, and the visual in Naples and beyond	0
Capturing images: Baudelaire’s account of Meryon’s etchings	0
Writing images as an act of interpreting: notes on Erwin Panofsky’s studies on medieval subjects and the problem of language in and of art history	0
Postscript	0
Image/text/cliché/insight: analogical practices in the global art world	0
Mirror, box, print, novel: optical fictions of the eighteenth-century zograscope	0
Photographs of the Warsaw Ghetto Uprising in Geoffrey Hill’s The Triumph of Love	0
Hungry minds: the visual and verbal language of taverns and coffee houses in early American periodicals	0
“All that we see is seen in perspective”: point of view as word and image	0
Figuring choral lyric: Sappho, Stesichorus and the spectacular chorus in archaic Greek texts and images	0
The outcast space of Perugino	0
Flavius Josephus and the frieze of the Spoils from the Temple in Jerusalem on the Arch of Titus	0
‘The Constantin Guys of the atomic era’: on the poetic reception of Robert Rauschenberg by Alain Jouffroy and Surrealism	0
Introduction: Iconographiae. Writing images in the medieval world	0
The Joys of Yiddish in the work of Mel Bochner	0
Catherine of Siena’s chest stigma: ambiguities between the textual and visual traditions	0
Uroscopy diagrams, judgment, and the perception of color in late medieval England	0
The renaissance of a twelfth-century papal manuscript fragment in Medici Florence: a new reading of Fra Angelico’s David	0

Painting Molière as an act of rebellion: Honoré Daumier, censored speech, and revivals of theatrical satire	0
Writing in the sky: the late antique astronomical illustrations of MS Harley 647	0
A New Sun Emerges: the Aztec New Fire Ceremony in word and image	0
Socio-metaphysical void: Yves Klein’s textual and imagistic performance of Théȃtre du vide	0
The poem as meme? Pop video poetry in the digital age (Warsan Shire/Beyoncé)	0
Parodying girlhood trauma in Louise Bourgeois’s writings	0
Invoking, seeing, and touching God during Byzantine Iconoclasm	0
Illuminating the sunbeam through glass motif	0
Bellicose things: the inner lives of Byzantine warfare implements	0
Where there’s everything: Pistoletto, the Gruppo d’Arte “l’Arlecchino,” and localist internationalism in Presenze	0
Cloud studies as Romantic (and Realist) fragment	0
Micrography, Medleys, and marks: the visual discernment of text in the calligraphy collection of Samuel Pepys	0
Before the altar: a Kafkan study in analytic iconology	0
Woman in a turban: Domenichino’s Sibyl, Staël’s Corinne, and the image of female genius	0
‘Both a poet and a painter’: typography and textual images in Christopher Logue’s War Music	0
Invoking body and voice: deixis and multivalency in the Techialoyan manuscripts	0
Poetic matters: Giovanni Aurelio Augurello (1441–1524), materiality, and the visual arts	0
Writing in gold: on the aesthetics and ideology of Carolingian chrysography	0
Meta-pictorial discourse and the early theory of the novel in eighteenth-century Britain	0
‘The Pictures … Are Even More Stark Than the Prose’ (Sheffield Telegraph, 2 December 1937): word and image in Walter Greenwood and Arthur Wragg’s The Cleft Stick (1937)	0
A surrealist ‘little sister’?: Dorothea Tanning’s (femme) Fatala (1947), metaphysical painting, and the roman policier	0
Japan’s Van Gogh? Analogy and revision in the case of Shikō Munakata	0
Fragments and fragmentary vision in nineteenth-century architectural photographs	0
The French fragment	0
Reading Michelangelo/Michelangelo Reading	0
The text inside us: text on screen and the intertexual self in Bakemonogatari	0
Les journaux de Louise Bourgeois: perspectives nouvelles sur le féminisme et l’érotisme	0
Indigenous image theory	0