As relações entre as artes: por uma arqueologia da intermidialidade
DOI :
https://doi.org/10.17851/2317-2096.14.2.42-65Résumé
O ensaio investiga o conceito da Intermidialidade a partir dos Estudos Interartes e ilumina desenvolvimentos, desde o tratado de G. E. Lessing, de formas diferentes de interação entre duas ou mais mídias: dois casos românticos, a relação palavraimagem numa obra de William Blake e a representação verbal da música num conto de E. T. A. Hoffmann, e a remediação cinematográfica da pintura em filmes de Derek Jarman e Jean- Luc Godard.Téléchargements
Références
ABRAMS, Meyer H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York: Norton, 1953.
AUMONT, Jacques. L’oeil interminable: Cinéma et peinture. Lignes: Séguier, 1989.
BAZIN, André. Peinture et cinéma. In BAZIN. Qu’est-ce que le cinéma? Paris: Les Éditions du CERF, 1985, p. 187-192.
BELLOUR, Raymond (Org.). Cinéma et peinture : Approches. Paris: PUF, 1990.
BOULTER, Jay David; GRUSIN, Richard. Remediation: Understanding New Media. Cambridge, MA; London: MIT Press, 2000.
BONITZER, Pascal. Peinture et cinéma: Décadrages. Paris: Seuil, 1995.
CARAVAGGIO. Direção: Derek Jarman. Reino Unido: BFI, 1986.
GRANGE, Marie-France; VANDECASTEELE, Éric (Org.). Arts plastiques et cinéma: Les territoires du passeur. Paris: L’Harmattan, 1998.
HAGSTRUM, Jean H. The Sister Arts: The Tradition of Literary Pictorialism and English Poetry. Chicago: Chicago University Press, 1958.
HATHERLY, Ana. A experiência do prodígio: Bases teóricas e antologia de textos-visuais portugueses dos séculos XVII e XVIII. Lisboa: Imprensa Nacional-Casa da Moeda, 1983.
HOFFMANN, E. T. A. Ritter Gluck. In: HOFFMANN, E. T. A. Fantasie- und Nachtstücke: Fantasiestücke in Callots Manier, Nachtstücke, Seltsame Leiden eines Theater-Direktors. Ed. Walter Müller-Seidel. Munique: Winkler [1960].
KRACAUER, Siegfried. History, The Last Things before the Last. NewYork: Marcus Wiener, 1995.
LEE, Rensselaer W. Ut Pictura Poesis: The Humanistic Theory of Painting. New York: W. W. Norton, 1967. Versão francesa: Ut Pictura Poesis: Humanisme et théorie de la peinture: XVe – XVIIIe siècle. Paris: Éditions Macula, 1991.
LESSING, Gotthold Ephraim. Laokoon, oder: Über die Grenzen der Malerei und Poesie. Posfácio de Ingrid Kreuzer. Stuttgart: Reclam, 1964.
LUHMANN, Niklas. Die Realität der Massenmedien. Opladen: Westdeutscher Verlag, 1996.
MARINIELLO, Silvestra. Commencements. Intermédialités. Histoire et théories des arts, des lettres et des techniques, n. 1, p. 47-62, 2003.
MÉCHOULAN, Éric. Intermédialités. Le temps des illusions perdues. Intermédialités. Histoire et théories des arts, des lettres et des techniques, n. 1, p. 9-27, 2003.
MITCHELL, W. J. T. Picture Theory. Chicago: University of Chicago Press, 1994.
MOSER, Walter. “Força barroca” nas novas mídias. Sobre Prospero’s Books de Peter Greenaway. Cinémas, v. 10, n. 2-3, p. 39-63, 2000.
NOVOTNY, Helga. Eigenzeit: Entstehung und Strukturierung eines Zeitgefühls. Frankfurt a.M.: Suhrkamp, 1989.
PASSION (Paixão). Direção: Jean-Luc Godard. França/Suissa, 1982.
PEUCKER, Brigitte. Incorporating Images: Film and the Rival Arts. Princeton: Princeton University Press, 1995.
THE PILLOW BOOK (O livro de cabeceira). Direção: Peter Greenaway. EUA, 1996.
PROSPERO’S BOOKS (A última tempestade). Direção: Peter Greenaway. França, 1991.
RAIMOND, Michel. La crise du roman: Des lendemains du naturalisme aux années vingt. Paris: José Corti, 1966.
SYKORA, Katharina. As You Desire Me: Das Bildnis im Film. Köln: Walther König, 2003.
VACCHE, Angela Dalle. Cinema and Painting: How Art is Used in Film. Austin: University of Texas Press, 1996.
WALZEL, Oskar. Wechselseitige Erhellung der Künste: Ein Beitrag zur Würdigung kunstgeschichtlicher Begriffe. Berlin: Verlag von Reither & Reichard, 1917.
WALZEL, Oskar. Das Wortkunstwerk: Mittel seiner Erforschung. Darmstadt: Wissenschaftliche Buchgesellschaft, 1968 (©1924).
Téléchargements
Publiée
Comment citer
Numéro
Rubrique
Licence
(c) Tous droits réservés Walter Moser (Autor) 2006
![Creative Commons License](http://i.creativecommons.org/l/by/4.0/88x31.png)
Ce travail est disponible sous la licence Creative Commons Attribution 4.0 International .
Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution Non-Commercial No Derivatives License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).