ABSTRACT As a cultural and political cartoonist, as an illustrator of literary classics, as a world-famous portraitist of writers, as a landscape painter, as a scenographer, as a writer and as a theorist of his own work, Tullio Pericoli wondered incessantly about the enigma of the story nested in the image or, vice versa, the image hidden behind the story. Many of his paintings and drawings presuppose or incorporate the written word. This article explores Pericoliʼs long fascination with literature, in particular through his important pictorial work on Daniel Defoeʼs Robinson Crusoe. After an introduction, in which Pericoliʼs interest in the relation between image and word is discussed in broader terms, the article offers a close reading and interpretation of Pericoliʼs work on Robinson Crusoe (1982–2007). This project, which has intermittently engaged Pericoli for twenty-five years, marks an important stage in the long history of interpretations of Defoe’s novel and shows the crucial power of the visual imagination in the reception of a literary classic.

中文翻译：

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绘画文学：图利奥·佩里科利的鲁宾逊·克鲁索

摘要作为文化和政治漫画家，文学经典画家，世界著名的肖像画家，风景画家，场景设计师，作家和他自己作品的理论家，Tullio Pericoli不断地想知道故事的谜语嵌套在图像中，反之亦然，隐藏在故事背后的图像。他的许多绘画作品都以书面文字为前提。本文探讨了佩里科利对文学的长期迷恋，特别是通过他对丹尼尔·迪福的《鲁滨逊漂流记》的重要绘画作品。引言之后，对Pericoli对图像和单词之间关系的兴趣进行了更广泛的讨论，本文对Pericoli关于鲁滨逊漂流记（1982-2007）的著作进行了仔细的阅读和解释。这个项目，