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“... rather than the historical dimension of the novel’s expedient fictionality. Franco Moretti and Mieke Bal both challenge the distinction theorists have drawn between narrative and description. Description usually features as the impediment to, or antithesis of, narrative. For Moretti and Bal, it is, rather, a mode of ...”

“... Analogy, interpretation, ‘leaps of all kinds’. These words might be said to set the stage for Mieke Bal’s Louise Bourgeois’s ‘Spider’: The Architecture of Art-Writing, which first saw the light as an article in the special issue of the Oxford Art Journal focused on Bourgeois. It is devoted to a single work, but an extraordinarily complex and ...”

“... from among the illustrious dead in order to demonstrate that museums aren’t merely cemeteries. Mieke Bal introduces us to some contemporary artists who have made use of Caravaggio or have claimed a relation with him. Jeanette Christensen, for example, in a work of 1995 placed a laser copy of a detail from Caravaggio’s Thomas showing the saint ...”

“... and the tropes of gender, whatever the fuck they are, and Roland Barthes and Judith Butler and Mieke Bal – I could do that, they taught us how to do it, that’s what art school seemed mostly to be for, but I couldn’t do it with a straight face … and that’s why I went to get my master’s in Education and appeared to myself and to the world to ...”

“... He quotes, with I think unintended comic effect, the wonderfully solemn perplexity of Mieke Bal in Narratology (1985), faced by this troubling illusion of a human presence in texts: ‘That no one has yet succeeded in constructing a complete and coherent theory of character is probably precisely because of this human aspect. The character is ...”