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.