Volume 24 Number 2

Harry R. Garvin (Ed.)

The Arts and Their Interrelations

1978
187 pages
ISBN 0838723551
Bucknell Review

The purpose of this issue of Bucknell Review is to further studies in the interrelations among the arts by exploring recent developments in that area. Of course, the search for parallels and divergencies in the arts is an old one, with a kind of cyclical history from Plato, Aristotle, and Horace to the present. An innovating aesthetician or critic opens up a new road that others excitedly explore and widen until unexpected obstacles loom, and then repetition, skepticism, and timidity complete the cycle and, for the time being, stultify the enterprise. But the problems in interrelating the arts remain intrinsic, ever-beckoning. Furthermore, the contemporary interest gives evidence of responsible enthusiasm and professional vigor and deserves encouragement by editors, publishers, and universities. The fresh explorations today are theoretical and practical. For example, phenomenologists, structuralists, and semiologists are still vigorously expanding their interdisciplinary insights into the arts. There is a high need for practical critics, with skills of close analysis, to compare and contrast the treatment of the "same" subject matter by a poet and a composer or a painter, by a novelist and film director or sculptor. Such critics should be able to tell us more about what we think we knew about different materials and forms. Some critics and aestheticians are now inquiring closely into what is going on in a consciousness while one is actually reading a poem or novel, actually listening to a madrigal, actually looking at a framed painting or a statue in the round. With these kinds of studies, the term aesthetic experience will take on some new meanings. Herein the reader will find ten essays dealing with the arts and their interrelations. In connection with the comparison between literature and painting, there are five essays that deal with, among others, the following subjects: Romantic poetry, Tristram Shandy, Impressionist painting, Gulley Jimson, and Whitman's "Crossing Brooklyn Ferry." In connection with literature, film and music, and myth, the reader will encounter film comedy, Beckett's Nouvelles, Charles Ives, Wallace Stevens and the concept of evil. And in connection with sculpture and architecture, one may read of the human body and the arcology of Paolo Soleri. The editors hope that the essays in this book will suggest some next steps in the exploration of the arts.

Contributors: James A. W. Hefffernan, Gerald P. Tyson, Barton L. St. Armand, Robert S. Frederickson, Laura Rice-Sayre, Henry M. Sayre, Fred M. Robinson, John N. Serio, Lee W. Gibbs, F. David Martin, and Joseph Grange.

About the editor:

Harry R. Garvin was John P. Crozer Professor of English at Bucknell University.

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