Alasdair Gray: Ink for Worlds offers fresh perspectives on Alasdair Gray's literary and pictorial works, with contributions that span a wide range of theoretical perspectives and levels of analysis among which are literary studies, fine art, word and image studies, architecture and media studies.
Alasdair Gray: Ink for Worlds offers fresh perspectives on Alasdair Gray's literary and pictorial works, with contributions that span a wide range of theoretical perspectives and levels of analysis among which are literary studies, fine art, word and image studies, architecture and media studies.
Jean Berton, Université Toulouse II Le Mirail, France Sorcha Dallas, Alaisdair Gray Foundation, Scotland Timothée Dubray, Gymnase de Burier, Switzerland Rodge Glass, Edge Hill University, UK Alasdair Gray, Independent Writer and Artist, UK Scott Hames, University of Stirling, UK Liliane Louvel, University of Poitiers, France Hélène Machinal, University of Bretagne Occidentale, Marie-Odile Pittin-Hedon, Aix-Marseille University, France Alan Riach, Glasgow University, UK Kirsten Stirling, University of Lausanne, Switzerland Glyn White, University of Salford, UK
Inhaltsangabe
Introduction; Camille Manfredi PART I: MYTH AND CREATION: ALASDAIR GRAY'S TEXTUAL PURGATORIES 1. Literature against Amnesia; Marie-Odile Pittin-Hédon 2. 'Part of a part which was once the whole': Mephistopheles and the Author Figure in Lanark and Fleck; Kirsten Stirling 3. Figures of Creation in Alasdair Gray's ?Prometheus'; Hélène Machinal 4. Damnation and Hell. Introduction to Versions of Goethe's Faust, Dante's Inferno; Alasdair Gray PART II: THE ART OF SUBVERSION 5. The 'Settlers and Colonists' Affair; Scott Hames 6. A Subversive View of Scotland in the 'Now plays'; Jean Berton 7. Spiraliform Narratives and the Question of Identity in Alasdair Gray's Lanark and 1982, Janine; Timothée Dubray 8. Having the Last Word: Paratextual Framing in the Work of Alasdair Gray and 'Sidney Workman's epilogue' to Old Men in Love (2007); Glyn White PART III: VISIONS AND TROMPE L'OEILS 9. Alasdair Gray: The Literary Vision, or, How to Make Things Seen; Alan Riach 10. The Alasdair Gray Foundation: the Importance of a Visual and Literary Archive; Sorcha Dallas 11. Itching Etchings: Fooling the Eye, or an Anatomy of Gray's Optical Illusions and Intermedial Apparatus; Liliane Louvel Conclusion: Nae new ideas, nae worries! Alasdair Gray 2008-2012; Rodge Glass Index
Introduction; Camille Manfredi PART I: MYTH AND CREATION: ALASDAIR GRAY'S TEXTUAL PURGATORIES 1. Literature against Amnesia; Marie-Odile Pittin-Hédon 2. 'Part of a part which was once the whole': Mephistopheles and the Author Figure in Lanark and Fleck; Kirsten Stirling 3. Figures of Creation in Alasdair Gray's ?Prometheus'; Hélène Machinal 4. Damnation and Hell. Introduction to Versions of Goethe's Faust, Dante's Inferno; Alasdair Gray PART II: THE ART OF SUBVERSION 5. The 'Settlers and Colonists' Affair; Scott Hames 6. A Subversive View of Scotland in the 'Now plays'; Jean Berton 7. Spiraliform Narratives and the Question of Identity in Alasdair Gray's Lanark and 1982, Janine; Timothée Dubray 8. Having the Last Word: Paratextual Framing in the Work of Alasdair Gray and 'Sidney Workman's epilogue' to Old Men in Love (2007); Glyn White PART III: VISIONS AND TROMPE L'OEILS 9. Alasdair Gray: The Literary Vision, or, How to Make Things Seen; Alan Riach 10. The Alasdair Gray Foundation: the Importance of a Visual and Literary Archive; Sorcha Dallas 11. Itching Etchings: Fooling the Eye, or an Anatomy of Gray's Optical Illusions and Intermedial Apparatus; Liliane Louvel Conclusion: Nae new ideas, nae worries! Alasdair Gray 2008-2012; Rodge Glass Index
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