By J. P. Donleavy
His destiny is disastrous, his current indecent, his previous divine. he's Darcy Dancer, younger squire of Andromeda Park, the good grey stone mansion inhabited through Crooks, the pass eyed butler, and the attractive, aristocratic leave out Von B. This sequel to The Destinies of Darcy Dancer, Gentleman unearths our hero falling in with decidedly low corporation — just like the dissolute Dublin poet, cunning Slattery, and Ronald Rashers, who absconds with the kinfolk silver — ahead of falling madly in love with the lissome Leila.
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Extra resources for Leila: Further in the Life and Destinies of Darcy Dancer, Gentleman
But no matter how such a relationship is conceived, words have always been measured against images and music and vice versa. This attests to the flexible and ever-changing positions and borders of art forms and media within the medial networks. To be informed of these very different eighteenth-, nineteenth- and twentieth-century voices helps us to understand the new insights intermediality studies has to offer. While the sister arts paradigm, together with the so-called Interart Studies or Comparative Arts, dealt with a range of contacts between literature and the ‘high arts’ such as music and painting throughout the twentieth century (Wolf 2005, 252), basically contending that the different arts are alike and function according to the same rules, intermediality studies are more ‘democratic’ since they not only deal with art forms and high brow cultural products exclusively, but with all kinds of cultural configurations, be they performances, products of popular culture or the new media.
It has no fixed meaning apart from its context. (Langer 1942, 81, 93, 95) Whereas language consists of a certain vocabulary and follows more or less fixed semantic and syntactical rules, according to Langer this is not the case with pictures. What would be the equivalents of the phonological, morphological, syntactical and semantic elements of language when it comes to pictures? If one talks about the ‘pictorial text’ or the ‘imagetext’ and the ‘sculptural text’ or ‘sculpture text’ as semioticians do, what then would be the ‘grammar’ of these ‘texts’?
27 Intermedial Negotiations: Postcolonial Literatures) She opens up numerous fruitful intermedial perspectives for the interpretation of postcolonial literatures and discusses the constitutive and dynamic role of media in construing forms of sociality and perpetuating cultural knowledge, including concepts of identification, alterity and power in postcolonial contexts. Since postcolonial literatures are often concerned with renegotiating imperial legacies and the ensuing predominance of Eurocentric epistemologies, the concept of intermediality, by opening up a space of semiotic and material in-between-ness, may intervene in the social fabric of existing medial configurations, reworking them in a way that allows readers to experience, see and imagine the world differently.