Panaesthetics: On the Unity and Diversity of the Arts (The Anthony Hecht Lectures in the Humanities Series)
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Albright explores how different media interact, as in a drama, when speech, stage decor, and music are co-present, or in a musical composition that employs the collage method of the visual arts. Tracing arguments and questions about the relations among the arts from Aristotle’s Poetics to the present day, he illuminates the understudied discipline of comparative arts and urges new attention to its riches.
continually unforming and reforming—writing that imitates the real operation of human memory, vague and vagrant, with all harsh edges filed away by rationalization, blurred by confabulation. v40f What Is Literature? We enjoy living in the world that Orwell anticipated with fear. I am writing this on a computer, and until it leaves my hard drive I could make the whole discussion of Orwell vanish into the cyber-ether as if it had never been and replace it with words that contradict everything
portray every physical aspect v86f What Is Painting? Fig. 21. Georges Braque, Three Nudes (1907). © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. of a woman, just as a house must be drawn in plan, elevation, and section. . . . I want to expose the Absolute, and not merely the factitious woman.”31 This then is the femme type in three different extensions, and the problem of early cubism was to find a way of integrating this house plan of a woman into a volumetric whole without
absence (if you paint in a nonrepresentational fashion, you can untether meaning: the discrete areas of the painting are no longer tethered to the physical world, no longer constricted in range of meaning). As an example of the first two methods, we may turn to Dante Gabriel Rossetti; as examples of the second two, to Wassily Kandinsky. Rossetti was one of the founders of the Pre-Raphaelite Brotherhood, a group that tried to revive the old medieval dictionary of emblems. In Dantis Amor (fig.
state is less original than Superville’s belief that color and line are “the identical signs of one invariable language, and the associations of the one automatically imply the associations of the other”—every color corresponds to a linear pattern, every linear pattern presupposes a certain color. Superville provides a diagram to prove his point: red throws its arms into the air; black is stooped, submissive; “white, an invariable, pure sign, like the horizontal line, occupies the middle place
dimensions that will cue the artist to think not of drawing something suitable for advertising Nike sneakers but of making an icon of terror: the expression on her face suggests ferocity and impudence; the posture is effortful, grotesque; the word swastika, even when used strictly as a shape-descriptor for the positioning of limbs, has its own strong connotations. What began as an attempt to map an image in words, in order to allow its re-creation as a picture, has turned into a map of an