The Problematic Status of the Literary Work of Art in Contemporary Aesthetics

in Transcultural Studies
Restricted Access
Get Access to Full Text
Rent on DeepDyve

Have an Access Token?



Enter your access token to activate and access content online.

Please login and go to your personal user account to enter your access token.



Help

Have Institutional Access?



Access content through your institution. Any other coaching guidance?



Connect

Developing a system that would reunite all the arts and account for their similarities and differences on the basis of a shared set of criteria was one of the main objectives of the aesthetic discipline, whose roots run deep into romantic philosophy. The diversity of modernist experiments poses a number of challenges to such systematisation and invites theoreticians to start anew. To illustrate some of the main difficulties arising from this situation, particularly in the case of the literary work of art, this article will focus on Gérard Genette’s two volume work L’œuvre de l’art (1994, 1997). Genette’s main purpose is to offer a conceptual framework for the description of the work of art that would find a place in the system for its material mode of existence. His objective is achieved at the expense of the coherence of the model since the structure of what he terms allographic and autographic works proves to be asymmetrical. Thus, the autographic works are presented as having a dual nature: transcendental and immanent (that is, physical), while the allographic works comprise three different levels: transcendence – immanence (understood as ideal) – and (physical) manifestation. After confronting Genette’s premises with the conclusions of several disciplines which study the same object of immanence from a different perspective, this paper will propose a revised and more coherent version of his system.

Transcultural Studies

A Journal in Interdisciplinary Research

Sections

References

Barthes Roland . “De l’œuvre au texte.” In Essais critiques iv. Le bruissement de la langue, 6977. Paris: Seuil, 1984.

Bohn Willard . The Aesthetics of Visual Poetry 1914–1928. Chicago and London: The University of Chicago Press, 1993 [1986].

Deac Eliza . “The Quest for the Ideal Edition of Mallarmé’s Un coup de Dés.” In Book Practices & Textual Itineraries: Contemporary Textual Aesthetics, ed. Collé Nathalie , Latham Monica , Eyck David Ten , 2956. Nancy: pun-Éditions Universitaires de Lorraine, 2015.

De Campos Augusto . “Concrete Poetry: A Manifesto” (1956), trans. by Tolman John . In Contemporary Poetics, edited by Armand Louis , 213214. Evanston: Northwestern University Press, 2007.

De Man Paul . “Sign and Symbol in Hegel’ Aesthetics .” In Aesthetic Ideology, edited with an introduction by Warminski Andrzej , 91104. Minneapolis: University of Minnesota Press, 1997 [1996].

Drucker Johanna . The Visible Word: Experimental Typography and Modern Art 1909–1923. Chicago and London: The University of Chicago Press, 1996 [1994].

Genette Gérard . L’œuvre de l’art. Immanence et transcendance. Paris: Seuil, 1994.

Genette Gérard . L’œuvre de l’art. La relation esthétique. Paris: Seuil, 1997.

Genette Gérard . The Work of Art. Immanence and Transcendence. Translated by Goshgarian G.M. . Ithaca and London: Cornell University Press, 1997.

Goodman Nelson . Languages of Art: An Approach to a Theory of Symbols. London: Oxford University Press, 1969.

Hayles Katherine . Writing machines. Cambridge: The mit Press, 2002.

Hubert Renée Riese . Surrealism and the Book. Berkeley/ Los Angeles/ London: University of California Press, 1988.

Jenny Laurent . La fin de l’intériorité. Théorie de l’expression et invention esthétique dans les avant-gardes françaises (1885–1935). Paris: Presses Universitaires de France, 2002.

Kirschenbaum Matthew . Mechanisms: New Media and the Forensic Imagination. Cambridge and London: mit Press, 2008.

Kittler Friedrich . Discourse Networks 1800/ 1900. Translated by Metteer Michael , with Cullens Chris , foreword by Wellbery David E. . Stanford: Stanford University Press, 1990 [1985].

Mallarmé Stéphane . Lettre de 28 avril 1888 à Edmond Deman (dcxxx). In Correspondance, vol. iii (1886–1889), recueillie, classée et annotée par Henri Mondor et Lloyd James Austin, 188. Paris: Gallimard, 1969.

McGann Jerome . A Critique of Modern Textual Criticism. Chicago & London: University of Chicago Press, 1983.

McGann Jerome . The Beauty of Inflections. Literary Investigations in Historical Method and Theory. Oxford: Clarendon Press, 1985.

McGann Jerome . The Textual Condition. Princeton: Princeton University Press, 1991.

McGann Jerome . Black Riders: The Visible Language of Modernism. Princeton, Princeton University Press, 1993.

McGann Jerome . Radiant Textuality: Literature after the World Wide Web. New York: Palgrave, 2001.

McKenzie D.F. Bibliography and the Sociology of Texts. Cambridge: Cambridge University Press, 1999.

Mœglin-Delcroix Anne . Esthétique du livre d’artiste 1960–1980. Paris: Jean-Michel Place/ Bibliothèque nationale de France, 1997.

Muthu Mircea . Estetica între mediere şi sinteză [Aestehtics between Mediation and Synthesis]. Cluj-Napoca: Limes, 2016.

Perloff Marjorie . Radical Artifice: Writing Poetry in the Age of Media. Chicago & London: The University of Chicago Press, 1994 [1991].

Peyré Yves . Peinture et poésie. Le dialogue par le livre 1874–2000. Paris: Gallimard, 2001.

Vos Eric . “Concrete Poetry as a Test Case for a Nominalistic Semiotics of Verbal Art.” PhD diss., University of Amsterdam, 1992.

Information

Content Metrics

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 9 9 3
Full Text Views 4 4 3
PDF Downloads 1 1 1
EPUB Downloads 0 0 0