Framing Borders in Literature and Other Media S I (SIM) TUDIES IN NTERMEDIALITY 1 Executive Editor: Walter Bernhart, Graz Series Editors: Lawrence Kramer, New York Hans Lund, Lund Ansgar Nünning, Gießen Werner Wolf, Graz The book series STUDIES IN INTERMEDIALITY (SIM), launched in 2006, is devoted to scholarly research in the field of Intermedia Studies and, thus, in the broadest sense, addresses all phenomena in-volving more than one communicative medium. More specifically, it concerns itself with the wide range of relationships established among the various media and investigates how concepts, of a more general character, find diversified manifestations and reflections in the diffe-rent media. The book series is related to, and part of, the activities of the Intermediality Programme of the Humanities Faculty at the Karl-Franzens-Universität Graz/Austria. STUDIES IN INTERMEDIALITY (SIM) publishes, generally on an annual basis, theme-oriented volumes, documenting and critically as-sessing the scope, theory, methodology, and the disciplinary and in-stitutional dimensions and prospects of Intermedia Studies on an inter-national scale: conference proceedings, university lecture series, col-lections of scholarly essays, and, occasionally, monographs on per-tinent individual topics reflecting more general issues. Framing Borders in Literature and Other Media Edited by Werner Wolf and Walter Bernhart Amsterdam - New York, NY 2006 Cover-Illustration: Cornelis Norbertus Gijsbrechts. Painting Turned Round (c. 1670-1675). Oil on canvas. 26 x 34 inches. Copenhagen, State Museum of Art The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 90-420-1789-9 ©Editions Rodopi B.V., Amsterdam – New York, NY 2006 Printed in The Netherlands Contents Preface .............................................................................................. vii Werner Wolf Introduction: Frames, Framings and Framing Borders in Literature and Other Media ............................................................ 1 Framing in/through the Visual Arts Anja Grebe Frames and Illusion: The Function of Borders in Late Medieval Book Illumination ................................................. 43 Vera Beyer How to Frame the Vera Icon? ........................................................... 69 Götz Pochat Framing, Actual and Virtual: The Crossing of St. Peter’s in Rome ....................................................................... 93 Patricia Allmer Framing the Real: Frames and Processes of Framing in René Magritte’s Œuvre ............................................................... 113 Daniel F. Herrmann Touching Upon Framing: Medial Conditions of Printmaking in Dieter Roth’s Komposition I-V (1977-1992) .............................. 139 Richard Phelan The Picture Frame in Question: American Art 1945-2000 ............. 159 Framing in/of Literary Texts Werner Wolf Framing Borders in Frame Stories .................................................. 179 Haiko Wandhoff Found(ed) in a Picture: Ekphrastic Framing in Ancient, Medieval, and Contemporary Literature ......................................... 207 Christian Quendler Frame Analysis and Its Contribution to a Historical and Cultural Theory of Literary Fiction: A Comparison of Initial Framings in James Fenimore Cooper’s The Spy and Gertrude Stein’s The Making of Americans ............................. 229 Till Dembeck (Paratextual) Framing and the Work of Art: E. T. A. Hoffmann’s Prinzessin Brambilla .................................... 263 Werner Wolf Defamiliarized Initial Framings in Fiction ..................................... 295 Maria Stefanescu The (Dis)Continuity of Framings ................................................... 329 Margarete Rubik Frames and Framings in Jasper Fforde’s The Eyre Affair .............. 341 Remigius Bunia Framing the End ............................................................................. 359 Framing in Film Roy Sommer Initial Framings in Film .................................................................. 383 Erik Hedling Framing Tolkien: Trailers, High Concept, and the Ring ................ 407 Framing in Music Michael Walter Framing and Deframing the Opera: The Overture .......................... 429 Walter Bernhart Narrative Framing in Schumann’s Piano Pieces ............................. 449 Notes on Contributors ..................................................................... 477 Preface The initial idea for this book dates back to autumn 1994. During an excursion of the English Department of the University of Graz into the Styrian wine growing region, discussions with my colleague Hugo Keiper, to whom I am grateful for this initial ‘spark’, triggered my interest in the field of framing – an interest which then was still exclusively literature-centred. In the course of the following years the project to which this volume is dedicated received additional fuel from various sources and events, and was broadened to its present cognitive and intermedial dimensions. In particular, I would like to mention discussions with colleagues, including one of our specialists in cognitive linguistics, Annemarie Peltzer-Karpf, but above all with Walter Bernhart, to whom I am especially thankful for his untiring assistance and encouragement. A further incentive was the foundation of the ‘Faculty Programme Intermediality’ (a special field of teaching and research within the Faculty of Humanities of the University of Graz). All of this led to the realization of a long-planned international conference on ‘Framing in Literature and Other Media’. It was co- organized by Walter Bernhart, Michael Walter and myself and was held at our Department of English in June 2004. It is this conference which became the basis of the present volume, the first of the book series ‘Studies in Intermediality’. Besides the persons already mentioned, the volume has benefited from the assistance of a number of people and organisations, whose support I hereby gratefully acknowledge, also on behalf of co-editor Walter Bernhart, who himself has contributed much more to it than his function of co-editor would suggest. Our thanks are especially due to my secretary Ingrid Hable for valuable work in the preparation of the manuscript and to Sarah Mercer for her careful proof-reading. For the logistic support of the conference we are indebted to the English VIII Department of the University of Graz and to various technical and organizational assistants from whose help the present volume as the conference proceedings profited indirectly. We would also like to thank the Faculty of Humanities of the University of Graz under Dean Walter Höflechner and the Land Steiermark for their willingness to support the conference and in part also the present volume in spite of financial constraints. Last but not least, we would like to thank the conference attendants and the contributors to this volume, without whose interdisciplinary expertise a transmedial investigation of fram- ing borders in literature and other media would not have been possi- ble, for the frame of intermediality studies by far transcends what a single scholar can cope with. Werner Wolf Graz, December 2005 Introduction Frames, Framings and Framing Borders in Literature and Other Media1 Werner Wolf Over the past few decades it has become a received notion that there is no human signifying act, no meaningful perception, cognition and communication without ‘frames’ and that frames are practically every- where. Indeed, since the mid-1970s, when Erving Goffman’s influ- ential study Frame Analysis was published, the concept of the cogni- tive ‘frame’, which Goffman had taken over from Gregory Bateson (1955/1972; cf. Goffman 1974: 7), has become widely accepted in lin- guistics and related areas: especially in cognition theory, psychology and psychotherapy, artificial intelligence research, sociolinguistics and above all in discourse analysis2. The present volume is dedicated to the application of frame analysis to a field in which it has not found much attention to date, namely literature and other media, and fo- cusses on the coding of frames in ‘framing borders’ (in temporal me- dia notably on initial framings). The following “Introduction” aims above all at clarifying the theoretical basis of such an analysis. This means in particular elucidating the concepts of ‘frame’, ‘framing’ and ‘framing borders’ and also giving an overview of their most important functions in the interpretation of works of literature and other media. 1 Parts of this “Introduction”, which was not read at the conference ‘Framing in Lit- erature and Other Media’, are revised versions of the first two chapters of Wolf 1999a. 2 For a survey see Müller 1984, esp. ch. 3, Drew/Wootton, eds. 1987, Tannen, ed. 1993, and the excellent summary of almost all previous research in the field, MacLachlan/Reid 1994.