Gillis J. Dorleijn | Literaire muziek. Een demonstratie van een “intermediale” lectuur voorafgegaan door enkele opmerkingen over intermedialiteit

23.2 Literatuur en Muziek

Abstract

Intermedialiteit is in. Ongetwijfeld is de enorme impact van de nieuwe media daar debet aan. Mediatheorie en -geschiedenis lopen aan de frontlinie van het culturele onderzoek. De literatuurwetenschap wil niet te zeer achterblijven en hijst met intermedialiteit de vlag van de vernieuwing. Helemaal onproblematisch is dat niet, want de term intermedialiteit mag dan hip zijn, het is doorgaans niet erg duidelijk welke lading zij dekt. Intermedialiteit loopt zo het gevaar het zoveelste modieuze containerbegrip te zijn dat het banier van de literatuurstudie siert om een jaar of tien vrolijk te staan wapperen totdat het weer vervangen wordt door een vaandel dat een nieuwe vernieuwing aankondigt. Wat zijn precies de problemen met intermedialiteit?

Full PDF

December 24th, 2018

Joke Brasser | Bas Jan Ader’s Art in Relation to the Romantic and Postmodern Sublime: Gravity – Passibility – Sublimity

23.2 Literatuur en Muziek

Abstract

This article discusses several works from the Dutch/Californian conceptual artist Bas Jan Ader (1942-1975). It relates these works of Ader to different cultural concepts of the sublime; the romantic and the postmodern sublime. The interpretation moves away from simply identifying Ader as a romantic artist and his oeuvre as concerned with the romantic sublime, which critics have often done. Instead, it focuses on the way in which Ader thematizes the romantic sublime as a 20th century sonceptual artist. It also relates Ader’s fall works to Lyotard’s concept of the
postmodern sublime of liminality, and discusses Ader’s last work “In Search of the Miraculous” as a postmodern sublime work which, like the fall works, is an execution of an act of self-surrender to a larger force.

Full PDF

November 21st, 2014

Charlotte van Oostrum | Listen to those Trains a-Hummin’: Beweging en improvisatie in ‘jazzy’ literatuur

23.2 Literatuur en Muziek

Abstract

According to the African- American writer Toni Morrison, her novel Jazz is based on the structure of jazz music. This article analyzes the way in which this “jazzy structure” functions within the novel. In order to do so, the bipartite chronotope of the ship (sound and movement) is used as a concept to engage in an analysis of Jazz. Emphasis is placed on the question whether Morrison’s novel creates a space for improvisation, an important element of jazz music. The analysis will show that the structure itself leaves little room for improvisation, but that this space is to be found on the level of language, sound and rhythm.

Full PDF

November 21st, 2014

Vincent Meelberg | Gewelddadige geluiden: de agressie van muzikale narrativiteit

23.2 Literatuur en Muziek

Abstract

“Variation 10” (1996), a free improvisation by the British saxophonist Evan Parker, is an act of aggression. More precisely, as I will argue in this essay, the music tells a story about the violence this piece induces on both the listener and the performer. Moreover, according to the French philosopher Alain Badiou, artworks such as “Variation 10” need to act violently on the situation in which this object is placed. The truth of an artwork is determined by its violence. I will discuss these different forms of musical violence, and suggest that, as opposed to literature, music is able to let the observer feel what it really means for an artwork to be violent. Both literature and music can tell about violence, but music can at the same time actually be violent.

Full PDF

November 21st, 2014

Krisztina Lajosi | Wagner and the (Re)mediation of Art: Gesamtkunstwerk and Nineteenth-Century Theories of Media

23.2 Literatuur en Muziek

Abstract

In the works of many nineteenthcentury European writers and artists there is an increased awareness of the form and medium of the artistic expression which is seen not simply as a convention or as the outer shell of the artwork, but as its guiding tenet. This article focuses on the idea of the Gesamtkunstwerk as conceived in Wagner’s theoretical writings and in Die Meistersinger von Nürnberg, and it aims to discuss the term in the context of nineteenth-century theories of media and aesthetic thinking. Richard Wagner revisited and re-envisioned the theories of theatre and musical drama of his Romantic precursors and invested the notion of Gesamtkunstwerk with a new meaning. He extended its range of function and relevance far beyond aesthetics, claiming along the lines of the Schillerian tradition that an ideal artwork is the product of an ideal community, and likewise, an ideal community can be shaped by its participation in the production of the ideal artwork. According to Wagner the musical theatre was the perfect medium for producing the total and ideal work of art, hence also for shaping the ideal community.

Full PDF

November 21st, 2014

Howard Stern | On Mahler’s Cuckoos: Ironies of Text and Music

23.2 Literatuur en Muziek

Abstract

The third movement of Gustav Mahler’s Third Symphony is a purely instrumental scherzando arrangement of the composer’s earlier song for voice and piano “Ablösung im Sommer,” which thematizes the singing styles of cuckoo and nightingale. Standard interpretations of the symphony read the movement as little more than an “animal fantasy” – halfway between the elemental forces of nature and the moral world of humanity. A full reading of the song, attending to its text and literary background, reveals it to be a profound meditation on the general question of “high” and “low” styles – and thus a pivotal moment in the symphony’s vast metaphysical argument.

Full PDF

November 21st, 2014