ABSTRACT
There are numerous intermedial mediators and pictorial variants that raise questions of space and of perspective in the text, particularly with reference to the ways the reader perceives them. With reference to the modelisation of the literary text by the visual arts, this chapter provides examples from the forms that have been commonly used by criticism in a rather canonical manner. It explores framing effects, perspective, and the games or "aberrant" deployments, such as anamorphosis or trompe-l'oeil, as well as the question of dispositif and other devices. The difference in the function of the frame and that of the margin echoes the debate surrounding Lessing's formulations in relation to the gender of the painting and that of poetry. The chapter shows 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.
