This article examines remediated examples of T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’ (1915). Eliot’s innovative dramatic monologue has sustained an enduring inter-media afterlife, mainly because visual artists generally capitalized on the poem’s residual Victorian painterly and semi-narrative qualities. Here I look at a wider range of visual forms from old and new media that, for both pedagogic and artistic purposes, remediate the poem’s ekphrastic, semi-narrative and modernist aesthetics: the comic strip, the animated film, the dramatic monologue film, the split-screen video poem and the photographic spatial montage. Together, they demonstrate the dialogic and multi-directional nature of remediation and articulate via inter-media strategies various literary properties and themes (e.g., character, setting, visual motifs, paralysis) of ‘Prufrock’.

中文翻译：

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修复“ Prufrock”

本文研究了TS艾略特（TS Eliot）的“ J. Alfred Prufrock的情歌”（1915）的修正示例。艾略特（Eliot）富有创意的戏剧独白，使媒体间的来世持续了很长一段时间，这主要是因为视觉艺术家普遍利用了诗中残留的维多利亚时代的绘画和半叙事特质。在这里，我考察了来自新旧媒体的更广泛的视觉形式，这些形式既出于教学目的又出于艺术目的，旨在纠正诗歌的狂热，半叙事和现代主义美学：连环漫画，动画电影，戏剧性独白电影，分屏视频诗和摄影空间蒙太奇。他们共同展示了补救的对话性和多方向性，并通过媒介间策略阐明了各种文学特性和主题（例如人物，环境，视觉主题，