Interart studies Research Papers - Academia.edu (original) (raw)

In 1931, Eliot wrote to Spender that he found Beethoven’s A minor Quartet “quite inexhaustible to study” and he wished he could “get something of that into verse” before dying. Four years later he wrote Burnt Norton, the first of the Four Quartets, and the above statement, together with other remarks on the composer, have significantly influenced critical studies on the relationship between Eliot’s poem and music. The wide range of possible comparisons so far proposed reveals a fundamental and thorny issue inherent in interart studies, which should consider the deep divide between direct mutual influences and more general and indirect analogies between poetics, contents and forms. Stevanato interprets the Quartets’ musicality by combining an intermedial approach with a cultural and aesthetic contextualization of Eliot’s modernist poetics, and, finally, with a textual analysis of the poem. Shifting the critical perspective onto the text itself, this study reads the poem’s musicality in the light of an interpretation of Eliot’s idea of “intersection” which is at once conceptual, formal, and thematic. In Four Quartets, this notion works as a formal and figuratively musical device which marries music and the religious Incarnation in a fusion of words, the Word and music.

- by Savina Stevanato
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- Interart studies

Essays: Roberto Ciancarelli, “Nota di presentazione”; Raimondo Guarino, “Opera delle convulsioni, patologia, ‘enrichment’: dal surrealismo alla cura delle pratiche”; Nicola Shaughnessy, “Acting in a World of Difference: Drama, Autism and Gender”; Aleksandra Jovićević, “Per sempre disobbedienti al patriarcato, alla guerra, al nazionalismo e al militarismo: le performance delle Donne in nero della Serbia”; Helen Nicholson, “For the Love of It: Theatre, Participation and Partnership”; Sruti Bala; “Theatre and the Risk of Fire”; Sergio Lo Gatto, “Il teatro contemporaneo come strumento culturale. Il caso di Spettatori Migranti”; Valentina Esposito, “Il teatro dentro e fuori gli spazi della reclusione”; Martina Storani, “Il Teatro Carcere come teatro: compagnie, repertori, drammaturgie”; Fabiola Camuti, “‘Affect’ vs ‘Effect’? Riflessioni sulla valutazione dell’impatto del teatro sociale”; Andrea Porcheddu, “L’ambiente che arricchisce: il teatro sociale come orizzonte di rinnovamento del tessuto sociale e umano”; Antonio Audino, “Oltre il teatro sociale: una nuova visione del corpo nelle arti e nella società”; Cecilia Bartoli, “Un teatro femminile e straniero a Torpignattara”; Emanuele Burrafato, “Contaminazioni, segni di innovazione, occasioni perdute nelle storie artistiche di Elisabetta Terabust, Amedeo Amodio, Luciana Savignano”; Nicola Usula, “«Tanto che gl’ascoltanti possino vedere»: azione e gestualità nei libretti profani di Antonio Draghi”; Isabella Molinari, “La raccolta manoscritta Intermezzi diversi della Biblioteca nazionale centrale di Roma. Tracce inedite per la ricostruzione del Carnevale al Collegio Romano”; Marco Solari, Alessandra Vanzi, “Da Venezia a Venezia”, intervista a cura di Roberto Ciancarelli e Andrea Scappa

- by Fabiola Camuti and +1
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- Applied Theatre, Applied Drama/Theatre, Baroque opera, Interdisciplinary Studies
- by Susanna Välimäki
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- Semiotics, Comparative Literature, Music, Aesthetics

Esteban Benzecry (compositor argentino, nacido en Lisboa en 1970) reúne en su primera sinfonía, por única vez, sus expresiones artísticas favoritas: música y pintura.
La sinfonía llamada “El compendio de la vida” fue compuesta en 1993 y estrenada por la Orquesta Sinfónica Nacional en el Auditorio Belgrano de la ciudad de Buenos Aires, bajo la dirección de Pedro Ignacio Calderón en setiembre de 1994. Su particularidad reside en que cada uno de sus cuatro movimientos se relaciona y lleva el nombre de cuatro cuadros que componen una serie, del mismo compositor. Las pinturas estaban expuestas en el hall del Auditorio en ocasión del estreno, además de impresas en el programa de mano del concierto.
Este trabajo analiza cada movimiento de la obra y cada pintura de forma particular para luego deducir los elementos técnicos musicales que se utilizaron para realizar la transferencia de un lenguaje artístico a otro. Los datos obtenidos fueron validados mediante entrevistas al artista/compositor, artículos periodísticos, y el sitio web oficial. El abordaje metodológico es de carácter intersemiótico, utilizando para ello las teorías de Souriau y Genette, tomando como guía investigaciones que abordan casos de similares características de la Dra. Cintia Cristiá.

- by Veronica Pittau
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- Interart studies, Music and Painting, Interartistic Studies, Interarts

O artigo apresenta os postulados teóricos de Giulio Carlo Argan presente
nos textos “A História da arte” e “Cidade ideal e cidade real” e os aplica ao romance Notre-Dame de Paris de Victor Hugo como uma sugestão para se pensar a relação entre Arquitetura e Literatura. Além disso, mostra-se a relação de complementariedade das duas artes, bem como a recepção e a memória de uma pela outra na atualidade.

- by Dennys Silva-Reis
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- Literature, Arquitetura, Interart studies, Literatura Francesa

Tout au long de l’histoire de sa réception, Reflets dans l’eau a souvent été associé aux paysages aquatiques de peintres impressionnistes comme Manet, Renoir, Sisley, Monet. Pour Emile Vuillermoz, Paul Roberts, François Sabatier et tant d’autres, les sonorités de cette pièce évoquent des paysages typiques de ces peintres. Comment une expérience purement sonore peut-elle renvoyer à de telles perceptions visuelles suggestives, jusqu'à tisser, comme le disait André Suarès, un véritable « poème de l’agonie de la lumière » ? Les métaphores de la réception nous fournissent des clés de lecture de la pièce. Et une analyse perceptive de l’œuvre permet d’étudier les équivalences entre expériences auditives et visuelles comme mise en jeu de mécanismes de perception similaires. La poétique de la pièce se présente ainsi comme axée sur la relation entre une mobilité inertielle et géométrique de la surface et une mobilité vitale et non gestaltique du fond.

- by Francesco Spampinato
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- Semiotics, Musicology, Metaphor, Imagination

This book, collection of essays by leading scholars in Burney studies, provides an innovative, interdisciplinary critical consideration of the relationship of one of the major authors of the long English Romantic period with the arts. The encounter was not devoid of tensions and indeed often required a degree of wrangling on Burney’s part. This was a revealing and at times contentious dialogue, allowing us to reconstruct in an original and highly focused way the feminine negotiation with such key concepts of the late Enlightenment and Romanticism as virtue, reputation, creativity, originality, artistic expression, and self-construction. While there is now a flourishing body of work on Frances Burney and, more broadly, Romantic women authors, this book concentrates for the first time on the rich artistic and material context that surrounded, supported, and shaped Frances Burney’s oeuvre.

- by Francesca Saggini
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- Comparative Literature, Music, Romanticism, Dance Studies

Un recorrido por la historia de la literatura a través del motivo de la doncella guerrera o virgo bellatrix y sus diferentes formas en la ficción.
Este artículo forma parte del libro de trabajo colectivos, ESPACIOS MÍTICOS: HISTORIAS VERDADERAS, HISTORIAS LITERARIAS, publicado por la editorial El Jardín de la Voz: Biblioteca de Literatura Oral y Cultura Popular del Área de Teoría de la Literatura y Literatura Comparada de la Universidad de Alcalá, en colaboración con el Instituto de Investigaciones Filológicas de la UNAM y el Centro de Estudios Cervantinos.

- by Veronica Enamorado Diaz
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- Estudios de Género, Estudios Culturales, Literatura, Interart studies

Table of contents and extended English-language summary of my PhD thesis. The dissertation presents a diachronic perspective on intermedial convergence and interplay between literature and popular music in modern Japan. It strives to illuminate the multi-faceted ways in which pop music has influenced the shape of post-war Japanese literature, both as an ensemble of texts and as a cultural institution. Rather than assuming a unidirectional pattern of intermedial reception and focusing only on literary texts in the narrow sense, the resulting genealogical narrative examines a variety of textual and audio-visual artefacts at the crossroads between literature and pop music: novels and short stories, journalistic texts, poems, song lyrics, films, and material objects, such as physical media. I show that literature has been shaped by music, but also how it has influenced pop music and its associated media in turn. Examined authors include Ishihara Shintarō 石原慎太郎, Itsuki Hiroyuki 五木寛之, Matsumoto Takashi 松本隆, and Machida Kō 町田康.

- by Moritz Sommet
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- Japanese Studies, Popular Music Studies, Popular Music, Japanese Literature

Sob a ótica dos Estudos Interartes e Intermidialidade, esta monografia tem como propósito
analisar o livro Memórias de um rato de hotel (1912), com autoria atribuída a João do Rio, e a
adaptação cinematográfica baseada nesta obra, Muitos homens num só (2015), dirigido por
Mini Kerti. O contexto de ambas as obras é o início do século XX, durante o período da Belle
Époque brasileira, auge da carreira de João do Rio e do Dr. Antônio, sendo o primeiro
pseudônimo de Paulo Barreto e o segundo o de um gatuno que ficou muito famoso por roubar
hotéis no Rio de Janeiro. Desta forma, contando com uma metodologia de cunho comparativo
e tendo como base as teorias acerca da adaptação, esta pesquisa buscou analisar a relação
entre as duas obras, com um enfoque para as máscaras narrativas e as questões de identidade
presentes tanto na narrativa literária quanto na fílmica. Por fim, seguindo nessa perspectiva, a
análise deste trabalho procurou evidenciar a importância de ambas as obras no contexto
literário e cinematográfico.

- by Carla H Lange
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- Comparative Literature, Literature, Intermediality, Brazilian Cinema

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

- by Joshua B Mailman
- •
- Applied Mathematics, Set Theory, Algorithms, Human Computer Interaction

RESUMO: Propomo-nos a tecer alguns comentários a respeito das pinturas sacras descritas no romance Ensaio sobre a cegueira (1995), do escritor português José Saramago (1922-2010), discutindo o reconhecimento das dezoito personagens... more

- by Francisco W L Cavalcante
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- Literatura, Interart studies, Pintura, José Saramago

Catalogue of the exhibition, Debrecen, MODEM, 25 February – 23 May 2010 (curator: Zoltán Rockenbauer), the first 23 pages.
language: hungarian, english

O trabalho concentra-se na investigação de fenômenos de intermidialidade em fotolivros contemporâneos brasileiros. O estudo contempla a descrição e análise dos aspectos formais e semântico-pragmáticos das obras Sí por cuba (2005), de Tatiana Altberg, Silent Book (2012) de Miguel Rio Branco e Nossos dias
parecem noite (2014), editado por Cícely Salamunes.

- by Ana Vitorio
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- Photography, Intermediality, Artists' Books, Photobook

Between 1908 and 1945 Béla Bartók's personal (and musical) influence can be shown on various modern Hungarian artist groups, such as the hungarian Fauves, The Eights, cubists, Kassák and his activist circle, or on the “Szentendre program”... more

- by Antonio Sanchez Jimenez
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- Lope de Vega, Luis de Góngora, Interart studies, Poetry and Painting
- by Dimitris Angelatos
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- Comparative Literature, Literary Theory, Interart studies, Comparative Poetics

The notion of interart translation is one that has hereto received very little academic attention. This may stem from the inherent danger of essentialising artistic qualities and assuming the presence of equivalences of particular themes and motifs within and across art forms/mediums that may be latent in this term. Here emerges the importance of ekphrasis as a middle ground or a stepping stone through which interart translation can function. Ekphrasis basically denotes the vivid description of a piece of visual art, real or imaginary, in a form of writing, thus the transformation of the visual into the verbal. But when can an ekphrasis abandon the confines of this description and become an independent translation of this work of art? This study aims to explore the possibilities, dimensions and limitations of translating sculpture to poetry- through the analysis of texts translating the Giza Sphinx sculpture into poems. The hypothesis here is that ekphrasis is the route through which interart translation can be conducted, in the case of translating sculpture to poetry, a point not touched upon in academic research. The lack of any comprehensive study on interart translation, and in particular the translation of sculpture to poetry, engenders a great deal of possibilities and challenges in achieving this task. Theorists over the years have been aware of the importance of the term ekphrasis. They have redefined and reformulated it in ways that are put to use in this study’s exploration of the possibility of interart translation: a notion that is only approached at a distance and with great trepidation in studies of ekphrasis. In the analysed examples, it is shown how the writers, in their verbal/ekphrastic representations/translations of the sculpture, make up for the silence and the static nature of this work of visual art, enabling it to transcend its boundaries is diverse ways. The various filters applied by the writers, including cultural and ideological ones, shape the renditions/translation of the sculpture in aesthetically diverse ways. This analysis paves the way for further studies on the nature of interart translation and suggests the possibility of tracing this process in more theoretically rigourous ways.

- by Lamia Tewfik
- •
- Comparative Literature, English Literature, Arabic Literature, Poetry
- by Angelo Pagliardini
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- Italian Studies, Romance philology, Literary Stylistics, Italian Literature

“My house is a gallery hung with paintings of cows and horses”, says Guimarães Rosa to Günter Lorenz in an interview (1983:67). The statement would easily apply to Rosa’s entire body of work, where horses, bulls, cows and donkeys are not only charged with symbolic meaning, but also offer themselves for contemplation in all their physical exuberance – sound, colour, texture, volume, movement, smell... In The donkey and the ox in the Nativity scene, the reader is “lured” into contemplation by the structure of the piece itself. Each one of the twenty-six poems guides the reading of one painting, insistently emphasising the humble witnesses of the Nativity scene: “Ecce puer!”, of course, but also “Ecce bos!”, “Ecce asinus!”, they seem to be saying. Poems and paintings continually draw attention to one another, in an ekphrasis where, instead of evoking the famous “paragone” of the arts, word and image whisper in unison: “Ecce opera!”

- by Polina Dimova
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- Synaesthesia, Modernism, Interart studies
- by Ana Luísa Valdeira
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- Creative Writing, Art Theory, Literature and cinema, Drawing
- by João Pedro Cachopo
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- Aesthetics, Performing Arts, Performance Studies, Contemporary Art

Este trabalho tem como objetivo refletir sobre o processo de tradução crítica que realizamos da obra teatral Noche de Guerra en el Museo de Prado (1956), do escritor espanhol Rafael Alberti (1902-1999), a primeira realizada em língua portuguesa, conforme temos notícia. Essa peça, que se situa temporalmente no momento da Guerra Civil Espanhola, é construída a partir de uma relação interartes que faz dela original e inovadora, o que motivou o interesse por sua tradução e difusão entre os leitores brasileiros. Neste artigo, discutimos a natureza do texto teatral e a problemática que envolve traduzir o texto dramático, especialmente no caso de uma obra que dialoga com outras artes. A partir de nossa experiência de tradução, destacamos o interesse em estabelecer uma tradução que considerasse o público brasileiro e que permitisse uma aproximação com uma história e cultura com as quais, talvez, não tivesse intimidade. Buscamos discutir e apresentar, assim, as dificuldades que foram encontradas ao traduzir uma obra cuja finalidade deixa de ser apenas a representação cênica, mas também a construção de um discurso interartes.

- by Katia A S Oliveira
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- Literatura española, Interart studies, Teatro, Rafael Alberti
- by David Fishelov
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- Interart studies, Interarts, Samson, Delilah Interpretations

Resumo: Os encontros com o fazer artístico alheio são um dos motivos centrais da poética de Mário Cesariny-tanto em seu trabalho como pintor, escultor e desenhista quanto em sua escrita. No livro As Mãos na Água, a Cabeça no Mar, a voz do poeta-Cesariny parece dar lugar a uma dicção de um artista que põe diante dos leitores seu ateliê, sua oficina de trabalho, apresentando o processo criativo como um aprendizado e um encontro com o outro. A pluralidade de diálogos e a multiplicidade de paródias, de citações, de menções e de nomeações fazem com que o leitor dedicado a sua obra passe a duvidar da posição autoral, buscando em cada poema, tela, objeto e tradução aquilo que é genuinamente cesarinyano e o que provém de outro artista. Diante do poema traduzido "Os passeios", publicado em As Mãos na Água..., o leitor atento às misturas de discursos se interroga a respeito da autoria do texto: Kandinsky ou Cesariny?

- by Maria Lessa
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- Intermediality, Surrealism, Ekphrasis, Interart studies
- by Loretta Innocenti
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- Renaissance Studies, Interart studies, Parola e immagine

When the captain’s ship is caught up in the deadly stillness of the calm in The Shadow-Line: A Confession (1917), his first mate Mr Burns suddenly bursts into a loud laugh, and his ‘awful’ peal of laughter, the captain tells us, lays ‘the malicious spectre’ of the former dead captain which haunts the ship. The ‘evil spell’ thus broken, the narrator’s ship again sails forward under his command. Despite its uncanny, explosive ‘presence’, Burns’ laughter in this autobiographical novel has so far drawn little critical attention in Conrad criticism in which the tragic has in fact been more frequently discussed than the comic and the humorous. Claiming that laughter itself remains in the margins of aesthetic in which the comic, humour, and irony have their place, French philosopher Jean-Luc Nancy emphasises in The Birth to Presence (1993) that ‘beauty presents itself in a laugh, recognizable and unexpected, bursting and in peals’. By thinking Mr Burns’ laughter in terms of Nancy’s aesthetics of laughter that ‘bursts right between the arts’ passing into each other, this paper aims to show how the ‘confession’ of the ‘I’ happens at the interstice, or the ‘shadow-line’ between the arts, literature, painting and music. Hardly a mimetic reproduction of a more ‘original’ presence of the younger self that existed previously, The Shadow-Line poses the question as to the relation between art and mimesis, that is, the idea of an underlying reality which art would be able to present.

- by Kaoru Yamamoto
- •
- Aesthetics, Continental Philosophy, Joseph Conrad, Interart studies

This paper aims to explore and describe the function of filmic writing in a literary text in the example of the novel Antipoiesis Arhes by Alexandros Kotzias. Despite the fact that, to the best of my knowledge, there is no thorough study of the relation of Kotzias's prose to cinema, Kotzias was a writer with a thorough knowledge of the literary trends of his time and his work shows him to be a writer greatly preoccupied with the refinement of narrative techniques, while containing a variety of elements indicating the interarts dialogue of literature to the cinema. Antipoiesis Arhes is chosen as an example for the interarts dialogue, since it is built around the constant back and forth between the present / reality and the main character's memory / imagination, which is carried out through the literary exploration of the continuity editing technique.

resUmo: A partir da interpretação dos sentidos da movência da protagonista do conto “George” de Maria Judite de Carvalho refletir-se-á, primeiramente, sobre a representação de conceitos como o de “morada”, identidade, aculturação e cosmopolitismo. Num segundo momento, ponderar-se-á a motivação para a leitura. Como o público-alvo é o aluno do 12.o ano, poderá apelar-se ao reconhecimento por parte dos alunos a) da construção complexa do sujeito múltiplo; b) da mudança do sujeito ao contactar com a pintura e a cultura do ‘outro’; e c) da movência do migrante. Partindo dos tópicos de conteúdo previstos no pro- grama de Português do 12.o ano, far-se-á uma análise dos aspetos do conto que podem beneficiar de uma leitura feita à luz dessas três noções, sugerindo estratégias didáticas que viabilizem a sua apropriação e destaquem o contributo de uma abordagem intercultural e interartística para a interpretação do texto.

- by Maria João Simões
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- Interart studies, Estudos Interartes, Literatura e pintura

A new reading of the work of Louis-René des Forêts in the light of the author’s activities in the
domains of cinema, music and fine arts is attempted here. A transmedial approach that exploits
new frames of reference, hitherto neglected to address the work of Louis-René des Forêts, is
found to be necessary in order to highlight the aesthetic dimension of the literary work beyond its
purely semantic, linguistic and philosophical aspects usually stressed by literary critics. The
interartistic bias amounts to accepting the perspective afforded by intersemiotic translation, thus
allowing us to examine des Forêts’ poetics in the light of the transgeneric shifts of a writer whose
literary work should in no way be isolated from its artistic intertext.

- by Hanen Allouch
- •
- Literature and cinema, Fine Arts, Musique, Interart studies

Dieser Band bietet eine Einführung in theoretische Grundlagen und zentrale Aspekte der Bezüglichkeit von Texten und Medien. Er verfolgt die Entwicklung von der klassischen Intertextualitäts- (Genette, Kristeva) zur neueren Intermedialitätsforschung (Rajewsky, Paech), behandelt aber auch die Frage der Kombination und Konkurrenz von Medien vom Wettstreit der Künste in der Antike und Frühen Neuzeit bis hin zur zeitgenössischen Medienkonvergenz. Drei ausführliche Analysekapitel stellen Anwendungsmöglichkeiten anhand literarischer und audiovisueller Beispiele vor.

- by Guido Isekenmeier
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- Visual Culture, Intermediality, Intertextuality, Memory Studies

A VI. és VII. fejezet a könyvből. Az utolsó békeév (1913) és az I. világháború kezdetének időszaka (1914-1916): a Nyolcak végnapjai, a párizsi magyar kubista-kör formálódása; miként változtatta meg a magyar modernizmus lehetőségeit az a tény, hogy ellenséges hadviselő félként szembekerültünk Franciaországgal, a magyar kubista csoport szétesése, a Nyolcak és a hadifestészet, Kassák művészetszervező aktivitásának indulása, a modern képzőművészek kapcsolata Bartókkal és Adyval e periódusban.

- by Zoltán Rockenbauer
- •
- Art History, Cubism, Modernism (Art History), First World War

Keynote Speech in the Scientific Conference: «Return to Today». The Reception of Classical Literature in Modern Versification (Athens, National and Kapodistrian University of Athens, 14/9/2018)

- by Dimitris Angelatos
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- Literary Theory, Interart studies
- by Lily Kelting
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- Film Studies, African American Studies, Interart studies