Экфрасис и сценическая композиция В. Кандинского "Желтый звук"
The title coinage of this book, stimulacra , refers to the fundamental capacity of literary narrative to stimulate our minds and senses by simulating things through words. Musical stimulacra are passages of fi ction that readers are empowered to transpose into mental simulations of music. The book theorizes how fi ction can generate musical experience, explains what constitutes that experience, and explores the musical dimensions of three American novels: William T. Vollmann’s Europe Central (2005), William H. Gass’s Middle C (2013), and Richard Powers’s Orfeo (2014). Musical Stimulacra approaches fiction’s music from a readerly perspective. Instead of looking at how novels forever fail to compensate for music’s physical, structural, and affective properties, the book concentrates on what literary narrative can do musically. Negotiating common grounds for cognitive audionarratology and intermediality studies, Musical Stimulacra builds its case on the assumption that, among other things, fiction urges us to listen— to musical words and worlds.
Under the rubrics of literature and music, two artistic forms of expression are brought together that have traditionally been connected, albeit not always in harmonious unity. In the spirit of the paragone, the competition between different art forms, in a number of historical aesthetics and poetics there is rather a competitive relationship between text and music, word and sound. Written in Dutch, English, and French and submitted by international scholars, the essays collected in this volume of Cahier voor Literatuurwetenschap - the book series sponsored by the Flemish Association of Literary Studies - address a range of issues outlining the contemporary shape of the interdisciplinary field of word and music studies.
This article aims at analyzing objects as signs of filmic aesthetic. Objects acquire several functions in films: Sometimes they are only scene objects or support a particular film style. Some objects are specially chosen to translate the characters’ interior or the directors’s aesthetical or even his ethical commitment with the narrative. In order to understand such functions and commitments this paper analyze objects of Wim Wenders’ films and apply an original systematic, which is based on Peircean semiotics and intermedial studies. This theme involves Cinema and Design, but it also embraces points of view of other disciplines, such as literature studies, history, psychology and sociology.
This article aims to analyze the objects as sign in the aesthetic context of the cinema, more specifically in the German film director Wim Wenders´ work. In the movies the objects translate the character´s interior, in a game which rules are based on the ethical-aesthetical commitment with the conceptual of the narrative. Therefore, we developed a specific methodology to make such analyses in the sense of Peircean semiotics and intermedial studies.