By Werner Wolf, Walter Bernhart
Not like narrative, description is a miles much less researched phenomenon, and the place it up to now has came upon awareness in any respect, students have mostly mentioned it with fiction in brain. The all yet particular focus on literature has hitherto obscured the truth that description transcends literature and certainly the verbal media commonly and isn't just a transgeneric but additionally a transmedial phenomenon that may be present in many different media and humanities. This ebook is a pioneering interdisciplinary research of description because it for the 1st time undertakes to shut this study lacuna by way of highlighting description and its relevance just about a large spectrum of arts and media. the amount opens with an in depth introductory essay, which goals at clarifying the descriptive as a easy semiotic kind of organizing symptoms from a theoretical standpoint but additionally offers a primary assessment of the makes use of of description in addition to its problematics in fiction, portray and instrumental song. commonly a part of the publication, 9 contributions via students from quite a few disciplines discover description in person media and assorted cultural epochs. the 1st component of the booklet is devoted to literature and comparable (partly) verbal media and contains a typological and old survey of description in fiction in addition to discussions of its incidence in poetry, nature writing, radioliterature and movie. the second one half offers with the (purely) visible media and levels from a presentation of the descriptive ideas utilized in Dürer's photograph reproductions to common reflections on 'the descriptive' within the visible arts in addition to in images. a 3rd part on description in song presents a standpoint on another medium. the quantity, that is the second within the sequence 'Studies in Intermediality', is of relevance to scholars and students from quite a few fields: intermedial experiences, literary and movie stories, heritage of paintings, and musicology
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Example text
In individual, so-called ‘monophase’ pictures, narrativity is frequently signalled by an intermedial reference to a verbal story, as is the case in Giotto’s representation of the Holy Family’s flight to Egypt, which illustrates a narrative episode of the Gospel according to St. 13-15). Generally, the most important marker of narrativity is the existence, or at a least suggestion of, both a temporal and actantional dimension (which are not requisite in description). Both elements are adumbrated in Giotto’s painting by the gesture of the angel pointing to the right and by the direction of the little procession which also moves from left to right, for a reason and with a goal that are both implied in the biblical text to which the iconography and the title of the picture refer.
In this painterly metonymy, or pars pro toto, these six trees and the two bare peaks adumbrate, rather than vividly describe, a mountain scene54. As opposed to Giotto’s schematic, low-degree landscape description there is, at the other extreme, nineteenth-century realism, as represented by Karl Haider’s painting “Die Mühlsturzhörner”, a mountain group near Berchtesgaden/Bavaria (1901, see Illustration 4). This painting attempts to ‘describe’ the view of specific mountains with many clearly identifiable, realistic details such as the postglacial boulders in the meadow, the shrubbery, the fir trees and spruces in the middle ground, and the topographically accurate rock formations in the background.
Form a polar rather than an ungradable contrast” (Sternberg 1981: 76), motivated action, notably the overcoming of an obstacle and the transgression of borders, moral and otherwise, is clearly outside the domain of the descriptive30. In this sense a castle would be a typical object of a description, while castle-building on a forbidden site would not. It is this absence of actantional events which appears to favour Chatman’s ‘existents’ as objects of descriptions while not excluding ‘events’, provided the focus is on the sensory appearance (on the ‘whatness’) rather than on narrative eventfulness.