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Aarnoud Rommens

Biographic Data

ID1034593
NAMEAarnoud Rommens
GIVEN NAMESAarnoud
FAMILY NAMERommens
SIGNATUREROMMENS A
ORCID0000-0003-2464-6095
VERIFIEDNo
TOTAL WORKS4
TOTAL CITATIONS0
WORKS AS AUTHOR4
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2003
LATEST PUBLICATION YEAR2018
H-INDEX0
  • Latin American Abstraction

    Aarnoud Rommens•ARTICLE•Mosaic•2018

    This essay nuances the legibility of Joaquín Torres-García's Inverted Map of South America as the supposed symbol of Latin America's cultural independence. Rather than a transparent "illustration," I argue that the Inverted Map traces an ambiguous routing of mestizaje constantly disavowed in the artist's discourse while animating his visual praxis

  • To Draw or Not to Draw

    Aarnoud Rommens•ARTICLE•SubStance•2017

    To Draw or Not to Draw:Alberto Breccia and the Ethos of Reading Aarnoud Rommens (bio) Reading: The Ethos of 'Seeing Things' It is not often that reading—let alone the reading of comics—is identified as a "need," a function of basic physical "survival": In Argentina, we were forced, as a question of survival, to use metaphor. ... Readers often 'saw' hidden details in panels, which, let's be honest, the authors were not even conscious of—they had s…

  • Memory in Camouflage

    Aarnoud Rommens•ARTICLE•Poetics Today•2005•References: 5

    This article explores how a minor medium such as comics-specifically,Alberto Breccia's version of Edgar Allan Poe's "William Wilson"-used its counter-censorial potential to activate memory in a context stifled by harsh repression. Through the development of several reading hypotheses, the author demonstrates how Breccia's drawings allow for a decoding that runs counter to the signification imposed by the Argentina junta of 1976-83. By recontextua…

  • Time, Narrative and the Fixed Image

    Aarnoud Rommens•ARTICLE•Poetics Today•2003

    Book Review| March 01 2003 Time, Narrative and the Fixed Image Aarnoud Rommens Aarnoud Rommens Search for other works by this author on: This Site Google Poetics Today (2003) 24 (1): 145–146. https://doi.org/10.1215/03335372-24-1-145 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Aarnoud Rommens; Time, Narrative and the Fixed Image. Poetics Today 1 March 2003; 24 (1): 145–146. doi: https://doi.org…

No prominent works on this page.

  • Time, Narrative and the Fixed Image

    Aarnoud Rommens•ARTICLE•Poetics Today•2003

    Book Review| March 01 2003 Time, Narrative and the Fixed Image Aarnoud Rommens Aarnoud Rommens Search for other works by this author on: This Site Google Poetics Today (2003) 24 (1): 145–146. https://doi.org/10.1215/03335372-24-1-145 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Aarnoud Rommens; Time, Narrative and the Fixed Image. Poetics Today 1 March 2003; 24 (1): 145–146. doi: https://doi.org…

  • Memory in Camouflage

    Aarnoud Rommens•ARTICLE•Poetics Today•2005•References: 5

    This article explores how a minor medium such as comics-specifically,Alberto Breccia's version of Edgar Allan Poe's "William Wilson"-used its counter-censorial potential to activate memory in a context stifled by harsh repression. Through the development of several reading hypotheses, the author demonstrates how Breccia's drawings allow for a decoding that runs counter to the signification imposed by the Argentina junta of 1976-83. By recontextua…

  • To Draw or Not to Draw

    Aarnoud Rommens•ARTICLE•SubStance•2017

    To Draw or Not to Draw:Alberto Breccia and the Ethos of Reading Aarnoud Rommens (bio) Reading: The Ethos of 'Seeing Things' It is not often that reading—let alone the reading of comics—is identified as a "need," a function of basic physical "survival": In Argentina, we were forced, as a question of survival, to use metaphor. ... Readers often 'saw' hidden details in panels, which, let's be honest, the authors were not even conscious of—they had s…

  • Latin American Abstraction

    Aarnoud Rommens•ARTICLE•Mosaic•2018

    This essay nuances the legibility of Joaquín Torres-García's Inverted Map of South America as the supposed symbol of Latin America's cultural independence. Rather than a transparent "illustration," I argue that the Inverted Map traces an ambiguous routing of mestizaje constantly disavowed in the artist's discourse while animating his visual praxis

Art (4 works) · Literature (3 works) · Borges, Kipling, and Jewish Identity (2 works) · Breccia (2 works) · Comics (2 works) · Computer Science (2 works) · Geology (2 works) · History (2 works) · Linguistics (2 works) · Philosophy (2 works)

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