ABSTRACT
With reference to the modelisation of the literary text by the visual arts, I will be taking examples from the forms that have been commonly used by criticism in a rather, I would say, canonical manner. My discussion here aims at the exploration of framing effects, perspective, and the games or “aberrant” deployments, such as anamorphosis or trompe-l’œil, as well as the question of dispositif (apparatus) and other devices. Finally, we will see how what has now been established as the discourse of a certain doxa is founded precisely on the elements that poetry has consistently “borrowed” from painting.
