The Aesthetic Discourse of the Arts Breaking the Barriers
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, enhancin
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ANALECTA HUSSERLIANA THE YEARBOOK OF PHENOMENOLOGICAL
RESEARCH
V O L U M E LXI
Editor-in-Chief: ANNA-TERESA
TYMIENIECKA
The World Institute for Advanced Phenomenological Research and Learning Belmont, Massachusetts
For sequel volumes see the end of this volume.
THE AESTHETIC DISCOURSE OF T H E ARTS BREAKING THE BARRIERS Dedicated to Marlies Kronegger
Edited by A N N A - T E R E S A
T Y M I E N I E C K A
The World Phenomenology Institute
Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning A-T. Tymieniecka, President
k4
SPRINGER-SCIENCE+BUSINESS MEDIA, B.V.
Library of Congress Cataloging-in-Publication Data
ISBN 978-94-010-5847-6 ISBN 978-94-011-4263-2 (eBook) DOI 10.1007/978-94-011-4263-2
Printed on acid-free paper
All rights Reserved © 2000 Springer Science+Business Media Dordrecht Originally published by Kluwer Academic Publishers in 2000 Softcover reprint of the hardcover 1st edition 2000 No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without written permission from the copyright owner.
Dedicated to Marlies Kronegger, the inspiring partner in this aesthetic enterprise
Marlies Kronegger
TABLE OF CONTENTS
ACKNOWLEDGEMENTS THE THEME /
The Aesthetic Discourse of the Arts
ix xi
INAUGURAL ESSAY ANNA- TERESA TYMIENIECKA /
The Creative Impulse and the
Aesthetic Discourse of the Arts
3
SECTION ONE
Breaking the Frame: Transgression and Transformation in Giulio Romano's Sala dei Giganti JOAN FIORI BLANCHFIELD / The nineteenth-Century Landscape and Twentieth-Century Space: Traumatic Loss or Trace of Memory? Robert Smithson and the Entrophic Metaphor RENEE RIESE HUBERT / Alechinsky, Cobra and the Book KAREN KARBIENER / Aspiring to the Condition of Music: Hardy and His Art from the 1840s to the 1890s ROSEMARY GRAY / Counterpoint in Print: Okot p'Bitek's Song of Lawino and Song of Ocol PAULA CARABELL /
19 35 57 71 87
SECTION TWO DAVID LIPTEN /
Semiotics and Musical Choice: "Beyond Analysis"
Revisited JAMES PARSONS /
When is a Work of Music Real?
105 143
SECTION THREE
Machine-Time, Passion-Time, and Time that Trembles: Debussy and Baudelaire 167 CYNTHIA OSOWIEC RUOFF / Baroque and Classical Aesthetic Visions 179 TONY RACZKA / To Consociate and Foster the Self 189 STEPHEN BROWN /
Vll
viii
TABLE OF CONTENTS SECTION FOUR
Inanimorata: The Dread of Things Musical and Visual Encounters: An Investigation of the Aesthetic Experience RANDAL DAVIS / " ... We Need Not Fear ... " Expressivity and Silence in the Early Work of John Cage CANDACE K. SKORUPA / Berlioz's Programme and Proust's Sanate: Parallel Quests to Bridge the Gaps in Musico-Literary Expression
201
Index of Names
273
MICHEAL VANPELT / ROBYN GANGI /
211 241 251
ACKNOWLEDGEMENTS
This collection brings to the public the papers presented at the Second International Congress of the American Socie
