Acknowledgments -- Contents -- Introduction: Ekphrasis, Iconotexts, and Intermediality - the State(s) of the Art(s) -- Ekphrasis and Theories of Reading Visual Representations -- Iconolâtrie de iconoclastie de l'écriture libertine -- Ekphrasis as Art Criticism: Diderot and Fragonard's "Coresus and Callirhoe" -- Ekphrasis and the Mimetic Crisis of Romanticism -- Ecritures de l'image chez Théophile Gautier -- Iconotexts: The Eighteenth Century -- Watteau: The Aesthetics of Pleasure -- Sterne and Fragonard: The Escapades of Death -- The Harlot, Her Father, and the Parson: Representing and Interpreting Hogarth in the Eighteenth Century -- La mise en scène de la table de travail: poétologie et épistémologie immanentes chez Guillaume-Thomas Raynal et Alexander von Humboldt -- Iconotexts: The Nineteenth Century -- The Strategic Withdrawal from Ekphrasis in Jane Austen's Novels -- Appropriating Botticelli: English Approaches 1860-1890 -- Entering the Museum of Words: Browning's "My Last Duchess" and Twentieth-Century Ekphrasis -- Oscar Wilde's "Impression du matin" - an Intermedial Reading -- Iconotexts: Caricature -- Text as Design in Gillray's Caricature -- The Battle of the Signs: Robert Crumb's Visual Reading of James Boswell's "London Journal" -- Bibliography -- Primary Sources -- Secondary Sources -- List of Illustrations -- Notes on Contributors -- Index -- Colour Plates.