Transmedia principles in impressionism spanning painting, music and literature
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Transmedia principles in impressionism spanning painting, music and literature Radomil Novák1 Accepted: 29 August 2020 © Akadémiai Kiadó, Budapest, Hungary 2020
Abstract This article explores transmedia principles in impressionism spanning painting, music and literature. The introduction focuses on concepts with the suffix-ism in scholarly communication (especially in literary theory and the general theory of art). Applying the concept of intermediality, it is possible to explore the intersection of all three above-listed arts and to identify, name and systematize stable principles which universally characterize impressionism. Theoreticians of intermediality (I. Rajewsky, W. Wolf) characterize these principles as non-media-specific and migrating, indicating that a particular aesthetic may be applied in different arts. The principles identified in this paper (hic et nunc, transposition, three-dimensionality and imagination, the two-stage reception of impressionist works, equivalent principles in techniques for expressing colour and light, similar genres and themes, and a shared goal–the optical integrity of the world) indicate that impressionism takes a unified noetic approach to reality, and thus these principles can be characterized as transmedia principles. Paradoxically, thanks to these principles, we are aware of the specificity of each of the arts as a distinctive system of signs. Parallel or equivalent structures can thus occur in different arts, accentuating either the visual aspect (painting), the auditive aspect (music), or a combination of both aspects (literature). Keywords Intermediality · Transmediality · Impressionism · Literature · Music · Painting
* Radomil Novák [email protected] 1
Department of Czech Language and Literature with Didactics, Faculty of Education, University of Ostrava, Fráni Šrámka 3, 709 00 Ostrava, Czech Republic
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Introduction In scholarly communication, almost every word with the suffix -ism1 represents a result of discussions within a particular discipline, and is thus used as a technical term.2 When exploring one of these -isms–impressionism–we are a priori influenced (restricted, limited) by existing definitions. We thus find ourselves in an area (comprising both objectivizing scholarly discussions and subjectivizing opinions) which reveals the plurality of approaches and perspectives, and therefore also the plurality of research methods applied. In literary communication (or artistic communication in general), -isms serve as a means of characterizing and categorizing works of art and the artists who create them. In his Criticism of Words, Karel Čapek states: “Usually a critic treats an artist like an animal: he catches it, and above all he identifies and names it.” (1927, p. 28) Čapek’s opinion reflects a certain danger inherent in the critic’s desire to classify and categorize artists and their works; this desire may lead to certain simplifications and banalities, causing the critic to lose sight of the artist’s individuality. The
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