Music and Literature Synthesis in Paul Dukas's Aesthetics

10.34690/188 ◽  
2021 ◽  
pp. 186-197
Author(s):  
Мария Сергеевна Шуткова
Keyword(s):  
New Approach ◽  
Music And Literature ◽  
Musical Idea ◽  
Literature Synthesis ◽  
Art Forms ◽  
Musical Emotion ◽  
Poetic Style

Рассмотрев и систематизировав представления о синтезе искусства Поля Дюка, автор статьи приходит к выводу об их оригинальности: в постоянном диалоге с вагнеровской идеей совокупного произведения искусств французскому композитору удалось изложить новый подход к интеграции музыки и слова. Обладая изысканным и утонченным литературным стилем, Дюка выражает свои мысли довольно туманно и неопределенно. Чтобы описать взаимодействие различных видов искусства, он использует понятия, относящиеся к концептам идеи («поэтическая идея» и «музыкальная идея») и эмоции («поэтическая эмоция» и «музыкальная эмоция»). Конечным результатом синтеза становится «поэма», в которой музыка и слово комплементарны друг другу и функционируют по единым законам. Having studied and systematized Paul Dukas's concept of synthesis of arts, the author of the article comes to conclusion that it possesses authentic originality: in a constant dialogue with Wagner's idea of Gesamtkunstwerk, the French composer had the capacity of introducing a new approach towards music and literature fusion. Having established a rather sophisticated poetic style, Dukas expresses his thoughts in a vague and ambiguous way. To illustrate the interaction of various art forms, he resorts to using certain definitions that refer to the concepts of idea (“poetic idea” and “musical idea”) and emotion (“poetic emotion” and “musical emotion”). The endpoint of this interaction is poeme, which suggests that both elements are now subjected to universal laws and are complementary.

scholarly journals Cinematic Forms and the Assembly of Cities: Bangkok Inscribed

MANUSYA ◽  
2008 ◽  
Vol 11 (3) ◽  
pp. 13-31
Author(s):  
Noah Viernes
Keyword(s):  
Urban Life ◽  
New Approach ◽  
Jacques Ranciere ◽  
Urban Images ◽  
Art Forms ◽  
Jacques Rancière ◽  
Specific Configuration

This article suggests that an aesthetics of contemporary urban life builds new avenues for treating the politics of visibility. Several reasons instigate this new approach. First, art forms illustrate and train a specific way of “seeing,” a camera consciousness, that correlates with changes in the built landscape. A specific configuration, in other words, presents a relationship (an analogy) between the contemporary predominance of urban images and urban subjects that elude preexisting categories. These aesthetic departures can be illustrated by literary and cinematic “sentence-images” within the project that Jacques Rancière (2004; 2006; 2007) calls the “redistribution of the sensible.” This paper's attempt to locate this redistribution according to the appearance of “the urban” in the literature of Prabda Yoon, Wanich Charungkichanant, Siriworn Kaewkan, Parinya Phiphathphorn, and two films by Apichatpong Weerasethakul, explains how Bangkok’s aesthetic landscape is produced by its material “visible” form.

scholarly journals Making the sentences sing: an interview with Anna Goldsworthy

2017 ◽  
Vol 4 (1) ◽  
Author(s):  
Gillian Dooley
Keyword(s):  
Literary Criticism ◽  
Dual Career ◽  
Music And Literature ◽  
Musical Education ◽  
Founding Member ◽  
Research Fellow ◽  
First Child ◽  
Piano Lessons ◽  
Art Forms ◽  
The University

Dr Anna Goldsworthy is one of Australia’s foremost concert pianists, a founding member of the Seraphim Trio, and a Research Fellow of the J.M. Coetzee Centre for Creative Practice at the University of Adelaide. She is also a distinguished writer, the author of two books: Piano Lessons (2009), a memoir of her musical education and her relationship with her teacher, Eleonora Sivan; and Welcome to your New Life (2014), a memoir describing the arrival of her first child. She has adapted Piano Lessons for the stage, and also co-written a play with her father, Peter Goldsworthy, based on his novel Maestro (1989). She has also written many essays, including cultural and literary criticism. Given my own interests in music and literature and how the two art forms intersect and overlap, Anna’s dual career has always been an inspiration for me. I met her in her office at the Elder Conservatorium in Adelaide in November 2016.

scholarly journals Identity of the work of art

2010 ◽  
Vol 21 (2) ◽  
pp. 293-308
Author(s):  
Stefan Ristic
Keyword(s):  
Visual Arts ◽  
Physical Object ◽  
Ontological Status ◽  
Symbolic System ◽  
Work Of Art ◽  
Music And Literature ◽  
Works Of Art ◽  
The Arts ◽  
Art Forms ◽  
Definition Of

The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.

Real Likenesses

2020 ◽  
Author(s):  
Michael Morris
Keyword(s):  
Real Thing ◽  
New Approach ◽  
New Model ◽  
Art Form ◽  
Artistic Representation ◽  
Art Forms ◽  
The Face ◽  
In Virtue Of ◽  
Suitable Object

This book offers a new approach to artistic representation, worked out in detail for the cases of paintings, photographs, and novels. It presents a paradox in the case of each of the three art forms, and argues for a thesis (the Non-Distraction Thesis) about the relation between medium and content. It then argues that the dominant theories of representation in the three art forms are incompatible with that thesis. Fresh light is thereby cast on familiar topics: the supposed phenomenon of ‘twofoldedness’, in the case of paintings; the alleged ‘transparency’ of photographs; the ‘paradox of fiction’, in the case of novels. Illusionistic theories, ‘seeing-in’ theories, imagination theories, and resemblance theories are the target in the case of paintings; theories which take photographs to be transparent pictures, in the case of photographs; and imagination theories, abstract-artefact theories, and theories which mix the two, in the case of novels. Having raised problems for existing theories in these domains, the book proposes for each art form a novel way of understanding the relation between the medium and the content. The new model is developed first for the case of paintings: it is proposed that the face you see in a painting is a real thing made of paint, which is, in a way, a face, in virtue of resembling a real face. This model is then applied to photographs, and to novels, with care taken to explain in each case how a suitable object might be constructed in the medium.

The Media Art Notation System: Documenting and Preserving Digital/Media Art

Leonardo ◽  
2007 ◽  
Vol 40 (2) ◽  
pp. 181-187 ◽  
Author(s):  
Richard Rinehart
Keyword(s):  
Digital Media ◽  
Theoretical Approach ◽  
Media Art ◽  
New Approach ◽  
Notation System ◽  
Art Forms ◽  
The Media ◽  
Descriptive Framework

This paper proposes a new approach to conceptualizing digital and media art forms. This theoretical approach will be explored through issues raised in the process of creating a formal declarative model (alternately known as a metadata framework, notation system or ontology) for digital and media art. The approach presented and explored here is intended to inform a better understanding of media art forms and to provide a practical descriptive framework that supports their creation, re-creation, documentation and preservation.

The O–C diagrams of minor planets − a new approach to modelling the rotation

1999 ◽  
Vol 173 ◽  
pp. 185-188
Author(s):  
Gy. Szabó ◽  
K. Sárneczky ◽  
L.L. Kiss
Keyword(s):  
Error Analysis ◽  
Time Dependence ◽  
Theoretical Work ◽  
Minor Planet ◽  
Minor Planets ◽  
New Approach ◽  
Preliminary Results ◽  
Ccd Observations

AbstractA widely used tool in studying quasi-monoperiodic processes is the O–C diagram. This paper deals with the application of this diagram in minor planet studies. The main difference between our approach and the classical O–C diagram is that we transform the epoch (=time) dependence into the geocentric longitude domain. We outline a rotation modelling using this modified O–C and illustrate the abilities with detailed error analysis. The primary assumption, that the monotonity and the shape of this diagram is (almost) independent of the geometry of the asteroids is discussed and tested. The monotonity enables an unambiguous distinction between the prograde and retrograde rotation, thus the four-fold (or in some cases the two-fold) ambiguities can be avoided. This turned out to be the main advantage of the O–C examination. As an extension to the theoretical work, we present some preliminary results on 1727 Mette based on new CCD observations.

A New Approach to the Demonstration of Oxidase-Localization Using Tannic Acid Or Catechin

1973 ◽  
Vol 31 ◽  
pp. 698-699
Author(s):  
V. Mizuhira ◽  
Y. Futaesaku
Keyword(s):  
Cross Section ◽  
Tannic Acid ◽  
Elastic Fiber ◽  
The Other ◽  
New Approach ◽  
Tissue Block ◽  
Active Reaction ◽  
The Cross

Previously we reported that tannic acid is a very effective fixative for proteins including polypeptides. Especially, in the cross section of microtubules, thirteen submits in A-tubule and eleven in B-tubule could be observed very clearly. An elastic fiber could be demonstrated very clearly, as an electron opaque, homogeneous fiber. However, tannic acid did not penetrate into the deep portion of the tissue-block. So we tried Catechin. This shows almost the same chemical natures as that of proteins, as tannic acid. Moreover, we thought that catechin should have two active-reaction sites, one is phenol,and the other is catechole. Catechole site should react with osmium, to make Os- black. Phenol-site should react with peroxidase existing perhydroxide.

Processing Immunoperoxidase Labeled Cell Monolayers and Cryostat Sesctions For Electron Microscopy

1985 ◽  
Vol 43 ◽  
pp. 714-715
Author(s):  
K. Chien ◽  
R. Van de Velde ◽  
I.P. Shintaku ◽  
A.F. Sassoon
Keyword(s):  
Cell Monolayer ◽  
Cell Types ◽  
Surface Antigens ◽  
Immunoperoxidase Method ◽  
Reaction Step ◽  
Hot Plate ◽  
Air Drying ◽  
New Approach ◽  
Cell Monolayers ◽  
Glass Slides

Immunoelectron microscopy of neoplastic lymphoma cells is valuable for precise localization of surface antigens and identification of cell types. We have developed a new approach in which the immunohistochemical staining can be evaluated prior to embedding for EM and desired area subsequently selected for ultrathin sectioning.A freshly prepared lymphoma cell suspension is spun onto polylysine hydrobromide- coated glass slides by cytocentrifugation and immediately fixed without air drying in polylysine paraformaldehyde (PLP) fixative. After rinsing in PBS, slides are stained by a 3-step immunoperoxidase method. Cell monolayer is then fixed in buffered 3% glutaraldehyde prior to DAB reaction. After the DAB reaction step, wet monolayers can be examined under LM for presence of brown reaction product and selected monolayers then processed by routine methods for EM and embedded with the Chien Re-embedding Mold. After the polymerization, the epoxy blocks are easily separated from the glass slides by heatingon a 100°C hot plate for 20 seconds.

TEM study of a biofilm on copper corrosion

1996 ◽  
Vol 54 ◽  
pp. 220-221
Author(s):  
W. A. Chiou ◽  
N. Kohyama ◽  
B. Little ◽  
P. Wagner ◽  
M. Meshii
Keyword(s):  
Marine Bacterium ◽  
Culture Medium ◽  
Copper Alloys ◽  
Pure Copper ◽  
Localized Corrosion ◽  
Natural Seawater ◽  
Copper Corrosion ◽  
New Approach ◽  
The Past ◽  
Copper Tolerant

The corrosion of copper and copper alloys in a marine environment is of great concern because of their widespread use in heat exchangers and steam condensers in which natural seawater is the coolant. It has become increasingly evident that microorganisms play an important role in the corrosion of a number of metals and alloys under a variety of environments. For the past 15 years the use of SEM has proven to be useful in studying biofilms and spatial relationships between bacteria and localized corrosion of metals. Little information, however, has been obtained using TEM capitalizing on its higher spacial resolution and the transmission observation of interfaces. The research presented herein is the first step of this new approach in studying the corrosion with biological influence in pure copper.Commercially produced copper (Cu, 99%) foils of approximately 120 μm thick exposed to a copper-tolerant marine bacterium, Oceanospirillum, and an abiotic culture medium were subsampled (1 cm × 1 cm) for this study along with unexposed control samples.

High resolution at low voltage: A new approach

1989 ◽  
Vol 47 ◽  
pp. 76-77
Author(s):  
Arthur V. Jones
Keyword(s):  
Low Voltage ◽  
Emission Sources ◽  
New Approach ◽  
Design Concepts ◽  
Probe Diameter ◽  
Low Voltage Operation ◽  
Sufficient Intensity ◽  
Electron Microscopes ◽  
Scanning Electron Microscopes ◽  
Immersion Type

With the introduction of field-emission sources and “immersion-type” objective lenses, the resolution obtainable with modern scanning electron microscopes is approaching that obtainable in STEM and TEM-but only with specific types of specimens. Bulk specimens still suffer from the restrictions imposed by internal scattering and the need to be conducting. Advances in coating techniques have largely overcome these problems but for a sizeable body of specimens, the restrictions imposed by coating are unacceptable.For such specimens, low voltage operation, with its low beam penetration and freedom from charging artifacts, is the method of choice.Unfortunately the technical dificulties in producing an electron beam sufficiently small and of sufficient intensity are considerably greater at low beam energies — so much so that a radical reevaluation of convential design concepts is needed.The probe diameter is usually given by

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