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Since cinema is a composite language, describing a movie is a complex challenge for critics and writers, and greatly differs from the ancient and successful genre of the ekphrasis , the literary description of a visual work of art. Imaginary Films in Literature deals with a specific and significant case within this broad category: the description of imaginary, non-existent movies – a practice that is more widespread than one might expect, especially in North American postmodern fiction. Along with theoretical contributions, the book includes the analyses of some case studies focusing on the borders between the visual and the literary, intermedial practices of hybridization, the limits of representation, and other related notions such as “memory”, “fragmentation”, “desire”, “genre”, “authorship”, and “censorship”.
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Conceived by Wagner as a way to recover the synthesis of arts at the core of Greek tragedy, the Gesamtkunstwerk played a significant role in post-Romantic and avant-garde aesthetics. It was designed to regenerate and defend the public function of art against mass culture and technology, yet at the same time depended on them in an ambivalent relationship manifested by its various realizations. The book reconceives the "total work of art" as a variation of intermediality, a practice that subverts any essentialist vision of artistic languages through complex interplay and blending of perceptions, amplified by new media and the syncretic nature of the cyberspace. The Gesamtkunstwerk can no longer be considered a Hegelian synthesis of arts or a Romantic and Wagnerian fusion of languages: it involves a synergy of different arts and media and captures the digital age’s principle of open textuality without any hierarchy and any organicist connotations. This book reveals the vitality of modern and contemporary Gesamtkunstwerk by mapping its presence in various arts and media.
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Investir des objets matériels de valeurs symboliques et sentimentales, après les avoir transformés en fétiches, est un phénomène ancien et devenu tout à fait crucial à notre époque, où les objets non seulement s'imposent comme interlocuteurs privilégiés et incontournables de notre vie émotive, mais aussi entrent en relation avec notre corps jusqu'à en devenir une partie intégrante. Rapporté à ses origines anthropologiques et psychanalytiques, qui ont orienté (et souvent faussé) le débat pendant deux siècles, le concept même de fétichisme est en train de perdre ses connotations négatives, qui renvoient toujours à une notion d'inauthenticité. En analysant et en illustrant, selon des perspectives nouvelles, le lien qui existe entre le fétichisme et les différents domaines de la création artistique - littérature, cinéma et art contemporain, Massimo Fusillo raconte et illustre l'histoire et les typologies de l'objet fétichisé, de la Toison d'or des Argonautes jusqu'à la balle de baseball qui fait l'objet de la vénération des héros de DeLillo.
Thematology --- Iconography --- Fetishism in art --- Ceremonial objects --- Idols and images in art --- Fétichisme dans l'art --- Objets rituels --- Idoles et images dans l'art --- Fétichisme (psychologie) --- Dans la littérature --- Dans l'art --- Au cinéma --- Fétichisme dans l'art --- Dans la littérature. --- Dans l'art. --- Au cinéma.
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