The Aesthetic Discourse of the Arts: Breaking the Barriers

Description

The fine arts first emerged divided by the five senses yet, since their very origin, they have projected aesthetic networks among themselves. Music, song, painting, architecture, sculpture, theatre, dance - distinct in themselves - grew together, enhancing each other. In the present outburst of technical ingeniosity, individual arts cross all barriers, as well as proliferate in kind. Hence the traditional criteria of appreciation and enjoyment vanish. The enlarged and ever-growing field calls for new principles of appreciation and new values, essential to our culture. This collection initiates an inquiry into the aesthetic foundations of the fine arts. Their common aesthetic nature, as well as the differentiating specificities which sustain them, might reveal the universal role of aesthetics in human life. Studies by Paula Carabell, J. Fiori Blanchfield, R. Riese Hubert, R. Gray, D. Lipten, J. Parsons, S. Brown, C. Osowie Ruoff, T. Raczka, K. Karbenier and others. Front Matter....Pages i-xiv Front Matter....Pages 1-1 The Creative Impulse and the Aesthetic Discourse of the Arts....Pages 3-16 Front Matter....Pages 17-17 Breaking the Frame: Transgression and Transformation in Giulio Romano’s Sala Dei Giganti....Pages 19-34 The Nineteenth-Century Landscape and Twentieth-Century Space: Traumatic Loss or Trace of Memory?....Pages 35-55 Alechinsky, Cobra and the Book....Pages 57-70 Aspiring to the Condition of Music: Hardy and his Art from the 1840s to the 1890s....Pages 71-85 Counterpoint in Print: Okot P’Bitek’s Song of Lawino and Song of Ocol ....Pages 87-102 Front Matter....Pages 103-103 Semiotics and Musical Choice: “Beyond Analysis” Revisited....Pages 105-142 When is a Work of Music Real?....Pages 143-163 Front Matter....Pages 165-165 Machine-Time, Passion-Time, and Time that Trembles: Debussy and Baudelaire....Pages 167-178 Baroque and Classical Aesthetic Visions....Pages 179-187 To Consociate and Foster the Self....Pages 189-198 Front Matter....Pages 199-199 Inanimorata: The Dread of Things....Pages 201-210 Musical and Visual Encounters: An Investigation of the Aesthetic Experience....Pages 211-240 “ We Need Not Fear ” Expressivity and Silence in the Early Work of John Cage....Pages 241-250 Berlioz’s Programme and Proust’s Sonate : Parallel Quests to Bridge the Gaps in Musico-Literary Expression....Pages 251-271 Back Matter....Pages 273-281