Visual Elective Affinities: An Elliptical Study of the Works of Angela Carter and Marosa di Giorgio Submitted by Natalia Font Marotte to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Modern Languages in June 2013. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: Natalia Font Marotte 1 Abstract Visual Elective Affinities: An Elliptical Study of the Works of Angela Carter and Marosa di Giorgio examines the extent to which these two authors engage with visual representations, as well as how visuality affects and modulates the nature of their writing. In this respect, I am committed to re- thinking the notions of verbal and visual media and I draw on W.J.T. Mitchell’s theory of the imagetext as a conceptual tool from which to investigate the heterogeneity of representation. On the one hand, I trace similarities and contrasts between Carter’s and di Giorgio’s perspectives, offering new critical approaches to each other’s œuvres. For example, I suggest new routes of interpretation into Carter’s and di Giorgio’s texts, by opening the exploration of their work to the interplay not only with visuality but also with each other’s geo-cultural domains. On the other hand, this thesis draws on theories and discourses of comparative literature and, hence, it also problematises standards and consequences of comparisons between the arts and between cultures. There are three major visual elective affinities with which I develop an intertwined analysis of the authors’ texts. Firstly, Giuseppe Arcimboldo’s pictures are a shared reference in Carter’s and di Giorgio’s writings, and I analyse Arcimboldo’s “effect” on their works. A second visual affinity is created around visions and images of women. Carter’s “The Bloody Chamber” is put under consideration along with images by Félicien Rops, Jacques Louis David and Corinna Sargood, amongst others, whilst di Giorgio’s Camino de las pedrerías is examined in relation to surrealist works of art including: Max Ernst’s, Leonora Carrington’s and Leonor Fini’s. Finally, this thesis analyses the films The Company of Wolves (dir. Neil Jordan, 1984) and Lobo (dir. Eduardo Casanova, 1990) in relation to Carter’s and di Giorgio’s works. In doing so, I introduce alternative perspectives on these writers, examining the links between cinematography and fairy tales, and exploring the conflictive and hybrid nature of filmic representation. 2 Table of Contents LIST OF ILLUSTRATIONS .............................................................................................. 5 INTRODUCTION ............................................................................................................ 10 AFFINITIES AND ELECTIONS .......................................................................................... 10 ON TRANSATLANTIC EXCHANGES: ELLIPTICAL CONSEQUENCES ................................... 16 CHAPTER BY CHAPTER ................................................................................................. 34 PART I DIALECTICS OF WORD AND IMAGE ......................................................................... 38 ON THE HETEROGENEITY OF MEDIA: ELLIPTICAL CONNECTIONS ................................... 38 DIALOGUES ACROSS TIME ............................................................................................ 46 IMAGETEXTUAL POETICS .......................................................................................... 55 LITERARY ICONOLOGY .................................................................................................. 56 INTERROGATING THE EKPHRASTIC AMBIVALENCE ......................................................... 72 Come unto These Yellow Pages ............................................................................ 75 Las Meninas and the Others .................................................................................. 88 IMAGETEXTUAL CHARACTERS ....................................................................................... 95 PART II ANGELA CARTER AND THE ARCIMBOLDO EFFECT ............................................ 107 THROUGH ARCIMBOLDO’S LOOKING-GLASS ................................................................ 107 BANANAS IS MY BUSINESS ......................................................................................... 117 THE ARCIMBOLDO EFFECT ......................................................................................... 132 MAROSA DI GIORGIO’S ARCIMBOLDESQUE ECO-ENSEMBLES ....................... 142 WILD PAPERS ............................................................................................................. 142 “PINTÓ CON FLORES”: EKPHRASTIC FLOWER POWER .................................................. 147 HOLISTIC ARCIMBOLDESQUE CHARACTERS ................................................................ 152 MAROSA NEOBARROSA .............................................................................................. 163 OF ITALIANISED NATURAL WORLD .............................................................................. 171 PART III THE BLOODY MUSEUM: ANGELA CARTER’S VIOLENT IMAGETEXT ................ 179 THIS IS NOT A PICTURE ............................................................................................... 181 THE VIOLENCE OF REPRESENTATION AND VISUAL REPRESENTATIONS OF VIOLENCE .. 187 GENDER AND VISION .................................................................................................. 195 THE “ILLUSTRATED” CHAMBER .................................................................................... 206 CAMINO DE LAS PEDRERÍAS AND SURREAL ICONOLOGY ............................... 213 COMMUNICATING VESSELS ......................................................................................... 213 SURREAL COLLAGE .................................................................................................... 219 OFF WITH HER HEAD! .................................................................................................. 223 SHELLS OF APHRODITE .............................................................................................. 235 THE MYSTERY OF EGGS .............................................................................................. 239 3 PART IV LOVE OF THE WOLF .................................................................................................. 255 THE BETTER TO EAT YOU WITH .................................................................................... 259 I AM NOBODY’S MEAT, NOT I ........................................................................................ 278 Imagining Little Red Riding Hood ......................................................................... 289 CONCLUSION.............................................................................................................. 301 A WORK IN PROGRESS ............................................................................................... 301 THE ANGELA CARTER AND MAROSA DI GIORGIO VISUAL EFFECT ................................ 309 BIBLIOGRAPHY .......................................................................................................... 321 4 List of Illustrations Figure 1. René Magritte. Les affinités électives. Oil on canvas. Private Collection, 1933. Figure 2. Imogen Cunningham. Frida Kahlo in 1931. Photograph. Lopez Island: The Imogen Cunningham Trust, 1931. Figure 3. Frida Kahlo. Las dos Fridas. Oil on canvas. Mexico City: Museo de Arte Moderno, 1939. Figure 4. Frida Kahlo. Autorretrato dedicado al Dr. Leo Eloesser. Oil on canvas. Private Collection, 1940. Figure 5. Frida Kahlo. Pensando en la Muerte. Oil on masonite. Mexico City: Collection of Dolores Olmedo Foundation, 1943. Figure 6. Richard Dadd. Titania Sleeping. Oil on canvas. Private Collection, 1841. Figure 7. Richard Dadd. Puck. Oil on canvas. Private Collection, 1841. Figure 8. Richard Dadd. Contradiction: Oberon and Titania. Oil on canvas. Private Collection, 1854-8. Figure 9. Richard Dadd. The Fairy Feller’s Master Stroke. Oil on canvas. London: Tate Gallery, 1855-64. Figure 10. Diego Velázquez. Las meninas. Oil on canvas. Madrid: Museo del Prado, 1656. Figure 11. Pablo Picasso. Las meninas. Oil on canvas. Barcelona, Museu Picasso, 1957. Figure 12. Francisco de Goya y Lucientes. Las meninas. Etching. New York: The Metropolitan Museum of Art, 1778. Figure 13. Anthony Van Dyck. Princess Henrietta Maria of France, Queen Consort of England. Oil on canvas. San Diego: San Diego Museum of Art, c 1636-8. Figure 14. Leonardo da Vinci. The Mona Lisa. Oil on canvas. Paris: Musée du Louvre, c 1503-5. Figure 15. Lucas Cranach the Elder. Venus. Oil on linden. Ottawa: National Gallery of Canada, c 1518. Figure 16. Lucas Cranach the Elder. Venus. Oil and tempera on red beechwood. Frankfurt: Städel Museum, 1532. Figure 17. Lucas Cranach the Elder. Venus Standing in a Landscape. Oil on wood. Paris: Musée du Louvre, 1529. Figure 18. Frida Kahlo. La flor de la vida. Oil on metal. Mexico City: Collection of Dr. Rodolfo Gómez, 1944. Figure 19. Frida Kahlo. Xochitl. Oil on metal. Mexico City: Collection of Dr. Rodolfo Gómez, 1938. Figure 20. Georgia O’Keeffe. Blue Flower. Pastel on paper mounted on cardboard. Santa Fe: Georgia O’Keeffe Museum, 1918. Figure 21. Still from the short-film by The Quay Brothers, The Cabinet of Jan Švankmajer (short-film), 1987. Figure 22. Giuseppe Arcimboldo. The Librarian. Oil on canvas. Balsta: Skoklosters Slott, 1566. Figure 23. Giuseppe Arcimboldo. Summer. Oil on panel. Vienna: Gemäldegalerie Kunsthistorisches Museum, 1563. 5 Figure 24. Giuseppe Arcimboldo. Summer. Oil on canvas. Paris: Musée du Louvre, 1573. Figure 25. Giuseppe Arcimboldo. Vertumnus. Oil on panel. Skokloster: Skoklosters Slott, 1590. Figure 26. Still from the short-film by Jan Švankmajer, Historia Naturæ (Suita), 1967. Figure 27. Still from the short-film by Jan Švankmajer, Historia Naturæ (Suita), 1967. Figure 28. Still from the short-film by Jan Švankmajer, Dimensions of Dialogue, 1983. Figure 29. Anonymous. Humani Victus Instrumenta: Ars Intrumenta: Ars Coquinaria. Etching. Copenhagen: Kundstindustrimuseum, 1569. Figure 30. Still from the short-film by Jan Švankmajer’s, Flora, 1989. Figure 31. Still from the short-film by Jan Švankmajer’s, Flora, 1989. Figure 32. Advertising poster for the song “South American Way” recorded by Carmen Miranda, 1940. Figure 33. Movie poster for the film Bananas is my Business (Dir. Helena Solberg), 1995. Figure 34. Giuseppe Arcimboldo. The Vegetable Gardener. Oil on panel. Cremona: Museo Civico Ala Ponzone, 1590. Figure 35. Giuseppe Arcimboldo. The Cook. Oil on panel. Stockholm: Private Collection, 1570. Figure 36. Front cover by Eduardo Stupía y Pablo Hernández for di Giorgio’s Los papeles salvajes. Vol. 1. Buenos Aires: Adriana Hidalgo, 2000. Figure 37. Front cover by Eduardo Stupía y Pablo Hernández for di Giorgio’s Los papeles salvajes. Vol. 2. Buenos Aires: Adriana Hidalgo editora, 2000. Figure 38. Giuseppe Arcimboldo. Spring. Oil on canvas. Paris: Musée du Louvre, 1573. Figure 39. Giuseppe Arcimboldo. Autumn. Oil on canvas. Paris: Musée du Louvre, 1573. Figure 40. Giuseppe Arcimboldo. Flora. Oil on panel. Paris: Private Collection, c 1591. Figure 41. Antonio Rasio. Spring. Oil on canvas. Brescia: Pinacoteca Tosio Martinengo, n.d. Figure 42. Anonymous. Sense of Smell. Oil on canvas. Southampton: Southampton City Art Gallery, n.d. Figure 43. Front cover by René Portocarrero for Lezama Lima’s Paradiso. México: Ediciones Era, 1968. Figure 44. René Portocarrero, Flora (nº23). Oil on canvas. Havana: Museo Nacional de Bellas Artes, 1966. Figure 45. René Portocarrero. Figura Ornamental. Watercolour on paper. Private Collection, 1968. Figure 46. Hubert van Eyck and Jan van Eyck. The Musicians with Saint Cecilia from The Ghent Altarpiece. Oil on wood. Ghent: Saint Bavo Cathedral, c 1432. Figure 47. Peter Paul Rubens. St. Cecilia Playing at Virginals. Oil on canvas. Berlin: Gemlädegalerie, 1639-40. Figure 48. Jaques-Louis David. Les Sabines. Oil on canvas. Paris: Musée du Louvre, 1799. Figure 49. Félicien Rops. Ma Fille! Monsieur Cabanel (Petit Modèle). Etching. Private Collection, 1905. 6 Figure 50. Félicien Rops. Ecchymoses. Heliogravure. Los Angeles: Los Angeles County Museum of Art, 1884. Figure 51. Corinna Sargood, The Bloody Chamber. Linocut. Private Collection, 1979. Figure 52. Max Ernst. Une semaine de bonté (Plate nº 26). Collage, 1934. Figure 53. Detail from Max Ernst’s Une semaine de bonté (Plate nº 24). Collage, 1934. Figure 54. Max Ernst. Une semaine de bonté (Plate nº 34). Collage, 1934. Figure 55. Leonor Fini. Sphinx pour David Barrett. Gauche and tempera. New York: CFM Gallery, 1954. Figure 56. Alberto Giacometti. Woman with Her Throat Cut. Bronze. New York: MOMA, 1932. Figure 57. Remedios Varo. Stealing the Essence. Oil on masonite. Mexico: Private Collection, 1955. Figure 58. René Magritte. Je ne vois pas la femme cachée dans la forêt. Mixed media. Included in La Révolution surréaliste, Paris, no.12, December 15th 1929. Figure 59. Marcel Duchamps. Étant donées. Mixed media assemblage. Philadelphia: Philadelphia Museum of Art, 1946-66. Figure 60. René Magritte. Le Viol. Oil on canvas. Houston: The Menil Foundation, 1934. Figure 61. Conroy Madox. The Cloak of Secrecy. Mixed media. Edinburgh: National Galleries of Scotland, 1940 Figure 62. Salvador Dalí. Aphrodisiac Telephone. Mixed media. Frankfurt: Museum für Kommunikation, 1938. Figure 63. Max Ernst. Une semaine de bonté (Plate nº 25). Collage, 1934. Figure 64. Max Ernst. Une semaine de bonté (Plate nº 40). Collage, 1934. Figure 65. Georges Hugnet. C'est qu'elle sait être plus jolie encore la machine infernale. Photomontage. Private Collection, 1936. Figure 66. René Magrite. La Clairvoyance. Oil on canvas. Private Collection, 1936. Figure 67. Leonora Carrington. The Giantess (The Guardian of the Egg). Tempera on wood panel. Private Collection, 1950. Figure 68. Leonor Fini. La Gardienne à l'œuf Rouge. Oil on cnavas. Private Collection, 1955. Figure 69. Salvador Dalí. El cisne de Leda. Oil on cardboard. Figueras: Fundació Gala-Salvador Dalí, c 1970. Figure 70. Salvador Dalí. Leda atómica. Oil on canvas. Figueras: Fundació Gala-Salvador Dalí, 1949. Figure 71. Salvador Dalí. Detail from Metamorphosis of Narcissus. Oil on canvas. London, Tate Modern, 1937. Figure 72. Leonora Carrington. AB EO QUOD. Oil on canvas. Private Collection, 1956. Figure 73. Leonora Carrington. Detail from The House Opposite. Tempera on panel. Chichester: Edward James Foundation, 1945. Figure 74. Still from the short-film by Eduardo Casanova, Lobo, 1990. Figure 75. Still from the short-film by Eduardo Casanova, Lobo, 1990. Figure 76. Still from the short-film by Eduardo Casanova, Lobo, 1990. Figure 77. Still from the short-film by Eduardo Casanova, Lobo, 1990. Figure 78. Still from the short-film by Eduardo Casanova, Lobo, 1990. 7 Figure 79. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 80. Luis Solari. Ronda y lobisón. Collage and oil on canvas. Private Collection, 1964. Figure 81. Luis Solari. Lobisón cabrón. Monotype. Private Collection, 1963. Figure 82. Luis Solari. Lobisona cabra. Collograph. Private Collection, 1975. Figure 83. Still from the short-film by Eduardo Casanova, Lobo, 1990. Figure 84. Still from the short-film by Eduardo Casanova, Lobo, 1990. Figure 85. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 86. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 87. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 88. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 89. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 90. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 91. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 92. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 93. Gustave Doré. Little Red Riding Hood. Etching, 1867. Figure 94. Gustave Doré. Little Red Riding Hood. Etching, 1867. Figure 95. Corinna Sargood. Little Red Ridding Hood. Linocut. Private Collection, 1990. Figure 96. Still from the feature film by Neil Jordan, The Company of Wolves, 1984. Figure 97. Jazmina Cininas. Angela Prefers the Company of Wolves. Reduction linocut. Private Collection, 2005. Figure 98. Gina Litherland. What Path Are You Taking, the Path of the Needles or the Path of the Pins? Oil on masonite. Private Collection, 1998. Figure 99. Gina Litherland. Little Red Cap. Oil on masonite. Private Collection, 2011. Figure 100 Gina Litherland. Wolf-Alice (For Angela Carter). Oil on masonite. Private Collection, 2011. Figure 101. Gina Litherland. In Bloom (For Marosa di Giorgio). Oil on masonite. Private Collection, 2012. Figure 102. José Cziffery. Marosa di Giorgio. Pastel on cardboard. Salto: Museo de Bellas Artes MIOG, 1961. Figure 103. Advertising poster for the exhibition Los amigos de Marosa. Montevideo, 2012. Figure 104. Nicolás Minacapilli. Untitled (from the series, A Marosa). Photograph. Private Collection, 2010. Figure 105. Nicolás Minacapilli. Untitled (from the series, A Marosa). Photograph. Private Collection, 2010. Figure 106. Cecilia Morales. Sí, hay algo en mí. Installation. Private Collection, 2012. 8 Figure 107. Silvia Varela. Estudio para rey de los tomates, según Marosa di Giorgio. Encaustic. Private Collection, 2005. 9 Introduction Affinities and Elections Literary space and time are conditional and elastic; their distances can vary, can lengthen or contract, depending on who is reading and what is being read. No mileage can tell us how far one author might be from another; no dates can tell us who is close to whom. Wai Chee Dimock I shall start with a picture, a picture of an oversized white egg locked in a bird’s cage. I am both making it visible, presenting a graphic reproduction of it, and I am also (re)presenting it with words, inscribing it in words. The picture (Fig. 1) is René Magritte’s Les affinités électives (1933) and its relevance relates to the concept of affinities that are at work in the reading of the textual and the visual in the works of Angela Carter and Marosa di Giorgio. Magritte explains how this image of an egg trapped in a cage caught him by surprise in an epiphanic manner. Inspired by the surrealist fascination with unusual connections, he argues for the creative power of the initially shocking, then revealing, establishment of affinities: One night in 1936 I awoke in a room in which someone had put a cage with a sleeping bird. A wonderful aberration made me see the cage with the bird gone and replaced by an egg. There and then, I grasped a new and astonishing poetic secret, for the shock I felt had been caused precisely by the affinity of objects, the cage and the egg. (qtd. in Torczyner 121)1 The bringing together of two diverse, yet not unconnected things (the egg and the cage in Fig. 1) works symbolically for my engagement with an imaginative and comparative reading where complex affinities between texts and images are investigated. This is why I decided to use Magritte’s sentence in the title of my thesis, as an image for the heuristic perspective that allows me to imaginatively elect and establish critical and comparative affiliations between authors and disciplines.2 The term affinities suggests ideas of links, bonds, interplay and integration which are essential for my understanding of textual and 1 This passage is an excerpt from Magritte’s “The Lifeline”, a lecture given in 1938 at the Musée Royal des Beaux-Arts in Antwerp. 2 The term elective affinities refers also to J.W. Goethe’s novel, Elective Affinities (1809), but I do not work with this text as intertext. 10