In this anthology are gathered 28 essays, devoted to the interrelations of the arts and media. They present together the current state of the emerging field of Interart Studies. The contributors - Stephen Greenblatt, Claus Clüver, Erika Fischer-Lichte, John Neubauer, Steven Paul Scher, Walter Bernhart, Ulrich Weisstein, Eric T. Haskell, Eric Vos, Thomas Elsaesser, among others - are leading international scholars in the fields of Art History, Literary Criticism, Musicology, Film, Theatre and Media Studies. In challenging ways they promote interdisciplinary strategies in the study of the traditional arts: dance, literature, music, painting, sculpture, theatre etc, as well as of the modern media: film, TV, video, computer-generated arts, etc.
The essays collected engage in a broad perspective of topics, approached from varying theoretical, methodological or ideological viewpoints. No single thread runs through the diversely conceived essays, yet it is evident that what all contributors appear to envision is the importance today of investigations into the problems of what might be called the interart - or intermedia - discourse. Aimed at university teachers, scholars, students and even artists, this book will meet the demands from those interested in modern modes of interart and intermedia analysis.
List of contents: Ulla-Britta LAGERROTH, Hans LUND, Erik HEDLING: Introduction. Towards a Poetics of Interart Discourse. Stephen GREENBLATT: The Interart Moment. I. Ekphrastic and Figural Representation. Claus CLÜVER: Ekphrasis Reconsidered. On Verbal Representations of Non-Verbal Texts. Tamar YACOBI: Verbal Frames and Ekphrastic Figuration. Siglind BRUHN: New Perspectives in a Love Triangle. "Ondine" in Musical Ekphrasis. Arne MELBERG: Rilke's Poetical Figures. II. Collaboration and Interaction in The Performing Arts. Erika FISCHER-LICHTE: Performance as Art - Art as Performance. Willmar SAUTER: Museum-Stage. The Frames Move into the Exhibition Hall. Lena HAMMERGREN: Beyond Interart? Displacing the Grand Narrative of Performer-Viewer-Art Object. Maaret KOSKINEN: "Everything Represents, Nothing Is." Some Relations between Ingmar Bergman's Films and Theatre Productions. Claes-Göran HOLMBERG: Extra-Terrestrial Novels. III. Music in Dialogue with Other Arts. John NEUBAUER: Tales of Hoffmann and Others. On Narrativizations of Instrumental Music. Walter BERNHART: Cardillac, the Criminal Artist. A Challenge to Opera as a Musico-Literary Form. Steven Paul SCHER: Mozart - an Epistolary Aesthetician? Ulrich WEISSTEIN: How to Read an Opera. Some Methodological Remarks with Examples Drawn from Mozart's Zauberflöte. Nils Holger PETERSEN: Søren Kierkegaard's Aestheticist and Mozart's Don Giovanni. IV. Architecture and the Other Arts. Lauren S. WEINGARDEN: William Gilpin. The Poetics of Picturesque (Painterly) Perception and Representation. Stephanie A. MOORE: Reviving the Medieval Model. The Cathedrals of Claude Monet, Joris-Karl Huysmans, and Claude Debussy. V. Word-Image Interrelations. Eric T. HASKELL: Image-Text Intersections. Baudelaire and "Bénédiction". Michael WEBSTER: E.E. Cummings and the Reader. Technique as Critique. Kathleen LUNDEEN: Interart as a Deconstructive Device. Word-Image Syncopation in Matisse's Jazz. VI. Visual and Verbal Semiosis. Göran SONESSON: Mute Narratives. New Issues in the Study of Pictorial Texts. Penny FLORENCE: Innovation, Sex and Spatial Structure. Examples from Mallarmé, Manet and the late Nineteenth Century. VII. Interart Aspects on Symbolism and Metaphor. Mona SANDQVIST: Alchemy and Interart. Eli ROZIK: The Common Deep Structure of Verbal and Iconic Metaphors. VIII. New Media. Jürgen E. MÜLLER: Intermediality. A Plea and Some Theses for a New Approach in Media Studies. Jan-Gunnar SJÖLIN: Man, Body Movement and Time in the New Media of Art. Eric VOS: The Eternal Network. Mail Art, Intermedia Semiotics, Interarts Studies. Thomas ELSAESSER: History and Hyperbole. Towards an Archeology of Interactive Systems. Notes on the Contributors. INDEX.
The essays collected engage in a broad perspective of topics, approached from varying theoretical, methodological or ideological viewpoints. No single thread runs through the diversely conceived essays, yet it is evident that what all contributors appear to envision is the importance today of investigations into the problems of what might be called the interart - or intermedia - discourse. Aimed at university teachers, scholars, students and even artists, this book will meet the demands from those interested in modern modes of interart and intermedia analysis.
List of contents: Ulla-Britta LAGERROTH, Hans LUND, Erik HEDLING: Introduction. Towards a Poetics of Interart Discourse. Stephen GREENBLATT: The Interart Moment. I. Ekphrastic and Figural Representation. Claus CLÜVER: Ekphrasis Reconsidered. On Verbal Representations of Non-Verbal Texts. Tamar YACOBI: Verbal Frames and Ekphrastic Figuration. Siglind BRUHN: New Perspectives in a Love Triangle. "Ondine" in Musical Ekphrasis. Arne MELBERG: Rilke's Poetical Figures. II. Collaboration and Interaction in The Performing Arts. Erika FISCHER-LICHTE: Performance as Art - Art as Performance. Willmar SAUTER: Museum-Stage. The Frames Move into the Exhibition Hall. Lena HAMMERGREN: Beyond Interart? Displacing the Grand Narrative of Performer-Viewer-Art Object. Maaret KOSKINEN: "Everything Represents, Nothing Is." Some Relations between Ingmar Bergman's Films and Theatre Productions. Claes-Göran HOLMBERG: Extra-Terrestrial Novels. III. Music in Dialogue with Other Arts. John NEUBAUER: Tales of Hoffmann and Others. On Narrativizations of Instrumental Music. Walter BERNHART: Cardillac, the Criminal Artist. A Challenge to Opera as a Musico-Literary Form. Steven Paul SCHER: Mozart - an Epistolary Aesthetician? Ulrich WEISSTEIN: How to Read an Opera. Some Methodological Remarks with Examples Drawn from Mozart's Zauberflöte. Nils Holger PETERSEN: Søren Kierkegaard's Aestheticist and Mozart's Don Giovanni. IV. Architecture and the Other Arts. Lauren S. WEINGARDEN: William Gilpin. The Poetics of Picturesque (Painterly) Perception and Representation. Stephanie A. MOORE: Reviving the Medieval Model. The Cathedrals of Claude Monet, Joris-Karl Huysmans, and Claude Debussy. V. Word-Image Interrelations. Eric T. HASKELL: Image-Text Intersections. Baudelaire and "Bénédiction". Michael WEBSTER: E.E. Cummings and the Reader. Technique as Critique. Kathleen LUNDEEN: Interart as a Deconstructive Device. Word-Image Syncopation in Matisse's Jazz. VI. Visual and Verbal Semiosis. Göran SONESSON: Mute Narratives. New Issues in the Study of Pictorial Texts. Penny FLORENCE: Innovation, Sex and Spatial Structure. Examples from Mallarmé, Manet and the late Nineteenth Century. VII. Interart Aspects on Symbolism and Metaphor. Mona SANDQVIST: Alchemy and Interart. Eli ROZIK: The Common Deep Structure of Verbal and Iconic Metaphors. VIII. New Media. Jürgen E. MÜLLER: Intermediality. A Plea and Some Theses for a New Approach in Media Studies. Jan-Gunnar SJÖLIN: Man, Body Movement and Time in the New Media of Art. Eric VOS: The Eternal Network. Mail Art, Intermedia Semiotics, Interarts Studies. Thomas ELSAESSER: History and Hyperbole. Towards an Archeology of Interactive Systems. Notes on the Contributors. INDEX.