Intermediality after 1900
In this seminar I propose to discuss the concept of intermediality and its cognates (transmediality, intertextuality) as it has developed after 1900.
Studies on the collaborations between text and image, sound and text, or image and sound have been published, striving to fit under the term “intermediality”, i.e. the participation of more artistic mediums in the creation of an artistic product. Terms such as translation or reference have been used to define the artists’ creative responses to other artistic products: poetry on fine art, music on fine art or fine art that takes its subject matter from literature.
How different is XXth century intermediality from Romantic intermediality? Are there any particular theoretical issues common to all the various collaborations between the arts in the XXth century?
I invite contributions to the seminar with theoretical issues or case studies (collaborations between painters, musicians and writers) that may help define the field of intermediality.
-
The papers may include, but are not restricted to:
- Aesthetics of intermedial phenomena
- Comparative arts versus intermediality
- Doppelbegabung as a particular case of intermediality
- Performative aspects across the arts
- Iconology and iconography
- Referentiality and metareferentiality in the arts
- Collage in the arts
- Ekphrasis in the arts
- Manifesto and ars poetica
- Music and Poetry
- Musicalization of Fiction
- Concrete poetry
- Ut pictura poesis
- Music and Painting
- Opera and the lied after 1900
- Myth, grotesque, irony or comedy across the arts