Artistic Ends Research Articles

States of Balance and Turbulence. Ligeti’s Pièce électronique nr. 3 in Concept and Realization

In 1957 György Ligeti had recently immigrated to Cologne and was learning about the developments of the avant-garde while working in the electronic music studio of the WDR. His output from this period includes an unfinished work, Pièce électronique nr. 3, a fascinating, yet virtually unknown composition, originally conceived as Atmosphères – the title later used for his orchestral composition of 1961. Pièce électronique nr. 3 looks forward to the innovative texture-driven orchestral compositions for which Ligeti became famous, but also reflects the influence of serialism as practiced by Karlheinz Stockhausen. The serial electronic music composed at the WDR in the 1950s offers a unique perspective on stages of theoretical planning and their relationships to audible realizations; the extensive sketches for this piece are no exception. The piece uses a consistent series of odd numbers to generate durations and pitch material for both small and large scale structures; it also uses sine tones as the predominant type of material, arranged in a way reminiscent of Stockhausen’s structure-group-forms. Shortly after this composition, Ligeti criticized aspects of serial practice, including duration rows and serialized dynamics, and moved away from this theoretical model. Along with comments in interviews, Ligeti’s approach to dynamics in this piece illustrates a significant difference in the artistic ends which Ligeti and Stockhausen sought. The use of such non-serialized parameters as determinants of large-scale form becomes increasingly characteristic in Ligeti’s style in Apparitions and Atmosphères; moreover, the basic shape of Pièce électronique nr. 3 closely resembles the form of the first movement of Apparitions. Thus elements discovered through serial pre-planning in the electronic medium were ultimately realized in non-serial orchestral works.

From the Argentinian Bioart Laboratory to the Strange Things retrospective. Ten years of bioart in Argentina

Bioart is an artistic genre that brings together works that use techniques, protocols, and methodologies from the fields of biology and, above all, biotechnology, for artistic ends. The first works of bioart in Argentina were created in 2008 following the creation of the Argentinian Bioart Laborat

James Light: “The Parade of Masks” (c. 1928)

James Light: “The Parade of Masks” (<i>c</i>. 1928)

LEVERAGING TRUST: YOUTUBE ENTERTAINERS AND THE ROLE OF PROBLEM-SOLVING IN ENGENDERING TRUST.

This paper aims to better understand the role that problem-solving plays in building the trust necessary to sustain online fan audiences, and so support the careers of influential social media entertainers. Problem-solving in this context means a video, where the theme deals with the problems of modern life experienced by young fans. A mixed methods approach – in this case in-depth interviews, discourse analysis and participant observation at YouTube Creator Day events – is used to better leverage the strengths of each method and triangulate results. Sample size is at least 20 YouTubers at the most culturally significant, artistic end of the spectrum with an average of at least 1mn subscribers, established TV producers and Multi-Channel Network leaders. Preliminary results suggest that leading YouTube creators – including A-listers – use a conscious strategy of identifying the problems fans experience, so establishing trust and building audiences for their videos around their own solutions. Moreover, trust is engendered through two main means say these Australian YouTubers: first, the considerable time creators spend listening to their fans across creators’ YouTube, Twitter, Facebook and Patreon channels; and second, via online and analogue interactions with fans that open their lifeworld’s to the creator, and in turn shape the themes of their short video products. This phenomenon of collaborative problem-solving, independent of traditional state, school or family structures, represents an important shift with significant potential for youth agency in an emergent public sphere.

Emerging Frameworks for Engaging Precarity and “Otherness” in Greek Contemporary Dance Performances

At the dawn of the European refugee crisis, and in the middle of the ongoing sociopolitical and financial crisis in Greece, Greek choreographers started creating dance works that engaged immigrants and refugees. In most such initiatives, improvisation became the tool for bridging the disparity between the professional dancers and the “untrained” participants, who were often the vulnerable populations of refugees and asylum seekers. In this essay, I question the ethics and aesthetics of these methodological approaches utilized for staging encounters between natives and migrants through dance. In particular, I consider the significance of improvisation as potentially perpetuating hierarchical inequalities in the framework of Western concert dance, while I also highlight the ways that such artistic endeavors end up presenting immigrants and refugees as “Others.”

Hofmannsthal: Jahrbuch zur europäischen Moderne 25 ed. by Maximilian Bergengruen et al.

Reviewed by: Hofmannsthal: Jahrbuch zur europäischen Moderne 25 ed. by Maximilian Bergengruen et al. Raymond L. Burt Maximilian Bergengruen, Alexander Honold, Gerhard Neumann, Ursula Renner, Günter Schnitzler, and Gotthart Wunberg, eds., Hofmannsthal: Jahrbuch zur europäischen Moderne 25. Freiburg: Rombach Verlag, 2017. 306 pp. Since 1968 the Hugo von Hofmannsthal Gesellschaft has had an active publication record to support the promotion of Hofmannsthal studies, beginning with the Hofmannsthal-Blätter, which focused on unpublished sources on the poet’s life and work and adding in 1971 a companion series, Hofmannsthal-Forschungen, that presented findings of scholars delivered at conferences or addressing specified topics. In 1993, these two publications were merged under the title of Hofmannsthal: Jahrbuch zur europäischen Moderne; the resultant periodical expanded its scope to place the poet’s life and work within the wider context of European Modernism. For its twenty-fifth year, the editors have selected seven contributions that add perspective to the life and works of Frank Wedekind, Rainer Maria Rilke, Marcel Proust, Karl Kraus and Arthur Schnitzler (as well as, of course, Hofmannsthal). Such collections may often be mined by scholars in search of a particular author or topic, whereas others may read the book in its entirety for insight into contemporary research with its variety of approaches and interpretive methodologies. In this volume, some of the articles proceed logically and methodically, and others surprise the reader with the creative twists and turns they take through their unexpected connections. The opening article by Klaus Bohnenkamp falls among the former and constitutes almost half of the pages dedicated to articles. His “‘Wir haben diesen Dichter geliebt . . .’: Hugo von Hofmannsthal und Eduard Korrodi: Briefe und Dokumente” delivers a meticulously researched investigation of the interaction of the Austrian poet with Korrodi, a Swiss journalist and the longtime editor of the [End Page 123] Neue Zürcher Zeitung. Bohnenkamp tracks every reference to Hoffmannsthal in Korrodi’s writings from 1917 to Hofmannsthal’s death in 1929. He follows Korrodi’s comments on publications from the Hofmannthal’s papers, with special attention to the novel fragment Andreas. Also included are Korrodi’s critique of Hofmannsthal’s works published in anthologies and performances of Hofmannsthal’s plays on in the German-language stage up to 1952. The essay is followed by the printing of the existent correspondence between Hofmannsthal and Korrodi and ends with Korrodi’s Nachruf of Hofmannsthal from 1929. Another example is “Selbstsucht und Selbstsuche: Schnitzlers Psychopoetik des Narzissmus,” in which Michael Navratil postulates that a general, dominant tendency can be drawn out of Schnitzler’s works revealing the defining role of narcissism in the psychological profile of his protagonists. To illustrate his thesis, Navratil ends the essay with an interpretation of Schnitzler’s “Die Frau des Richters.” In order to show the influence of Ecclesiastes on Hofmannsthal’s writings, Heinz Rölleke uses parallel textual comparisons in his “Hofmannsthal und das alttestamentarische Buch ‘Kohelet’” to great effect. Beginning with the indirect influence on the opening lines of Jedermann, he proceeds to a detailed analysis of Hofmannthal’s “Ballade des äußeren Lebens” in which he shows the unfiltered inspiration it draws from this most enigmatic book of wisdom in the biblical canon. Inspiration of a different sort of book on literature is taken up by Daniel Hilpert in his contribution, “‘Mein Fleisch heißt Lulu’: Eugenik und Sexualpathologie in Frank Wedekinds ‘Die Büchse der Pandora. Eine Monstretragödie.’” The book in question is Richard von Krafft-Ebing’s Psychopathia Sexualis (1886). Hilpert places Wedekind’s literary production within the cultural context of the late nineteenth century, in which deviance in sexuality, race, and art were seen by many as a sign of a cultural collapse. The scientific discussion about eugenics inspired Wedekind to bring the themes of sexual pathology and eugenics into literature. Wedekind is dealing not only with the character of Lulu but with the construction of the entire plot by using Krafft-Ebing’s descriptions of sexual pathology as the narrative framework. On the artistic end of the spectrum, Johannes Ungelenk’s contribution, “Rainer Maria Rilkes ‘Die Flamingos’: Ein Kling(-ge-)ding,” starts with the traditional genre analysis of this sonnet as...

Collaborative Art in the Twenty-First Century

This collection is part of the new Routledge ‘Advances in Art and Visual Studies’ series. As such it brings together philosophers, art educators, practising artists, practising collaborative artists, art historians, semioticians, media and communications specialists, and a novelist and short story writer who also describes himself as an art writer. The field of art history and aesthetics has broadened to include visual culture as that embraces social and political considerations of art practice. The collection, therefore, exhibits a wider perspective than might usually be represented by a collection on aesthetics. This reviewer, at least, finds it a welcome development in the study of visual art. The editors—Bacharach is a philosopher, Booth and Fjærestad are artists—introduce the collection with a bold claim to the effect that past collaboration was a matter of expediency; and that the new collaborations we are seeing in the twenty-first century are [no] longer a means to an end, and [they] are not necessarily influenced by political or philosophical convictions or status quo, the choice to collaborate is a deliberate artistic choice. Collaboration, in other words, is now part of the medium of art-making, an artistic end in itself. (1–2)

What the Book Arts Can Teach Us About Sacred Texts

Religion and art became separated in the modern age, or so the secularized story goes. But looking at a history of books, including their artistic creation, we find interesting ongoing parallels occurring between religious and artistic texts. Illustrations and scripts, bindings and papers, printmaking and performance, all serve artistic and religious ends. The artistic and the religious are tied together, ultimately, by appealing to the senses, bringing texts and reading into the realm of the aesthetic (Gk. aesthetikos: pertaining to sense perception). Books are powerful and enjoyable as well as dangerous and condemned, because they are felt, seen, tasted, heard, and touched. By looking at contemporary “book arts” and noting their sensual affects, we can understand “sacred texts” in better ways. Ultimately we find modern secular arts are not so far from religious experiences. Examples come from modern book artists such as John Latham, Brian Dettmer, Luigi Serafini, Meg Hitchcock, and Guy Laramée.

The New Gestural Cinema

This essay examines the work of Chinese artist Yang Fudong, who often uses moving images in his art. It notes that not only has he always been interested in the gestural, but also that he has become increasingly drawn to gestural cinema. It argues that Yang Fudong’s output is a prime example of a new gestural cinema, and that this new gestural cinema is encouraged by the political economy of working on the transnational art scene, or the “artscape.” It goes on to ask how Yang Fudong has been able to deploy this new gestural cinema to his own artistic ends. Noting the debates about whether the gestural is an alternative and even redemptive language or whether it is the excess that stands beyond meaning, the essay argues that Yang’s art exercises the tension between the two potential understandings to produce his own unique effects. In Yang’s gestural cinema, the promise of meaning and narrative coherence is repeatedly invoked, and associated with the appearance of numerous figures of the modern, young, and educated individual. Yet, this promise is always frustrated, creating a structure that moves us from gesture as a way of conveying embodied experience to thinking about what meanings might attach to the gestures without imposing any particular conclusion on the spectator. This ambiguity is ethical insofar as it demands our cogitation rather than our judgment.

Trading tongues: merchants, multilingualism, and medieval literature

The locus of Hsy's study is London, which he, like David Wallace, Ardis Butterfield, and others of late, casts as city of many languages, kind of crucible for code-switching--the kind of shifting between different languages (or identifiable registers of any given language) . . . not only for pragmatic purposes but also for deliberately artistic ends: using different languages to develop distinct expressive registers, to stylize certain types of speech, or to evoke vivid sense of place (5-6). London's status as city of languages rests on its prominence as commercial hub; hence much of Hsy's focus like many of his examples derives from or connects with merchants and mercantile-driven enterprise (lawyers, guildsmen, the printer William with emphasis on his commercial associations through the staple, etc.). In this regard, Hsy's book is good companion to Craig Bertolet's Chaucer, Gower, Hoccleve and the Commercial Practices of Late Fourteenth-Century London (London: Ashgate, 2013)--a study Hsy acknowledges in footnote (7-8, n. 12) that was at press simultaneous with his own. Indeed, Hsy and Bertolet discuss many of the same passages, especially from the M), where Gower's sharpster Triche (Fraud) receives commentary from both, but importantly to different ends. Hsy's concern is invariably linguistic: he wants to show how Gower's (and Chaucer's, Caxton's, etc.) language works, where it comes from, who its target audience might have been: e.g., Hsy concludes comparison of the Constance story in his second chapter, Overseas Travel and Languages in Motion, as told Trevet, Chaucer and Gower, noting that by transforming Constance's story from cleric's narrative into merchant's tale, both poets find new literary mode that exploits the transitory and fluid potential of language transversal (73). In his third chapter, Translingual Identities in John and William Caxton, Hsy brings the poet and his first printer--also polylingual--together in enlightening ways, as he sees them as similar spirits. He offers, he says, a sustained assessment of Gower's polyglot and Caxton's literary ambitions . . . . Through first-person prologues and autobiographical excurses, and Caxton develop innovative discourses for discussing cross-linguistic exchange and literary production, and each invests considerable amount of thought into how his own translingualism informs an ever-shifting literary persona (92). This chapter contains the extended discussion of the merchant section of the MO noted previously, and draws occasional examples from the CA, stressing the interplay of the Latin with the Middle English in both the verses and the commentaries, and helpfully reminding us that the great majority of manuscripts (and none of those thought to devolve from his own likely oversight of an exemplar) are trilingual. Of particular interest also in this chapter is Hsy's close reading of Cinkante Balade XVII, pointing out the multiple valences achieves with the shift from the lover's French to the lady's rejection of his suit in Middle English: nay (113). The example in many ways is good one to stand for Hsy's larger purpose for the book--to change our views of medieval writing (209) from monolingual and nationalist to polylingual and transcultural. He writes of nay: Gower foregrounds the alterity of the lone English word spoken fictive French speaker, and he dramatizes this word's increasing estrangement from its original moment of utterance. Through this ensuing narrative, the poet suggests the corresponding unease an English speaker experiences when acquiring (and using) second language like French, tongue that is at once very close to the speaker but perpetually eluding his grasp (113). [RFY. Copyright. The John Society. JGN 32.2]

Henry James's Hawthorne

In 1879 Henry James was contracted by Macmillan & Co. to write a monograph on Nathaniel Hawthorne. James wrote to Hawthorne's son, Julian Hawthorne, that he had taken on the commission ‘reluctantly’, believing that, whatever were his qualifications for writing about Hawthorne, it ‘seemed … that … it should, if possible, be done by an American’.1 James felt that Hawthorne's work could be best interpreted by a reader who was familiar with American, and specifically New England, society. As he would write in Hawthorne (1879): ‘it is an almost indispensable condition of properly appreciating [Hawthorne] to have received a personal impression of the manners, the morals, indeed of the very climate, of the great region of which the remarkable city of Boston is the metropolis’.2 These were the conditions of life which, as James later wrote in Notes of a Son and Brother (1914), Hawthorne experienced as an American writer who ‘proved to what use American matter could be put by an American hand’, and who showed that ‘an American could be an artist, one of the finest, without “going outside” about it’.3Hawthorne has generated a large amount of diverse critical commentary, but there is a significant consensus that James sought to illustrate the limitations of Hawthorne's art and the more general limitations of American artistic endeavour on the eve of the decade in which his own first great realist novels appeared. This was the view held by such influential twentieth-century critics of James as Lionel Trilling, Richard Poirier, and Richard Brodhead. One reason why Hawthorne is seen as such an important critical text is that its unfavourable judgements on Hawthorne's work look forward to a new era of realism in American fiction. Certainly, James remarks on ‘the absence in Hawthorne of [the] … quality of realism’ (p. 321), and complains that The Scarlet Letter contains ‘little elaboration of detail, of the modern realism of research’, and that it suffers from ‘a want of reality’ (p. 404). It is true that Hawthorne is an important text in the history of American realism. I want to argue, however, that it also acknowledges the worth of Hawthorne's example as an American writer who used the necessary and inescapable conditions of life in America for his own artistic ends. I will suggest that James's consideration of what he called Hawthorne's ‘old Puritan moral sense’ (p. 365) led him to make assertions about Hawthorne's fiction of an innovative kind which have been misunderstood by later commentators. In doing so, I will seek to account for the continued attraction of James's critical procedures for a modern reader.

Arquitecturas irreales y perspectiva emocional

It is redundant to affirm nowadays that virtua lreality has revolutionized architectural illustration. Seductive, computer-generated perspectives have invaded architectural rendering, mixed with photographs of built architecture, to the exten tthat it is not known (nor is there any desire to know) whether the place they represent exists or not in physical reality. Virtua limages are not only a means of communicating the future project they have become objects of creation, artistic ends in themselves. The architecture project needs to communicate and therefore requires certain communication strategies. Until recently the architect's point of view flooded the architectural expression of the project, now the user is a new filter through which the project must be observed.

Seeking Beauty in Art: Some Implications of a Thomistic Statement about Glass Saws

AbstractStarting from a statement of Thomas Aquinas to the effect that even though a saw made of glass would be more beautiful than one made of iron, it would not fulfil its artistic end, it is argued that we have largely lost an awareness that the fine arts in their pursuit of beauty must also have a connection to some end, just as the saw does to cutting, and that seeking beauty in the abstract and divorced from such an end has had deleterious effects, including the loss of the artist's social role, the disappearance of the fine arts from everyday life and their replacement by objects of mass culture. This process is particularly illustrated by the history of the connection between poetry and music.

Ethics, Aesthetics, and Artistic Ends

A work of art may be considered with respect to internal relations that may exist between the ethical defects of the work and its artistic or aesthetic value. In some cases moral flaws seem to count as artistic flaws. In other cases, the artistic value of a work seems immune to criticism that the work is morally defective. An evaluation in which reference is made to the constitutive aims, functions, or purposes of a work of art can offer a principled explanation that grounds that sort of distinction.

A functional view of artistic evaluation

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art.

The Struggle with Language in Byron's Cain

Cain: A Mystery is often relegated to the lower division of Byron's poetry. Many critics focus on the supposedly flawed quality of Cain 's poetry, seeing the play as lacking Byron's 'conversational facility'. Focusing on the relationship between Cain 's style and its content, this essay shows that the play's Cain, as the original poet, must speak in 'stumbling stanzas' as he struggles heroically with language. By foregrounding Cain's struggle to connect word and event, Byron raises the status of language from vehicle to subject. Cain 's theme is the discovery of the meaning of the word, and the play's construction mirrors this preoccupation. The essay argues that the often fragmentary and difficult though strangely beautiful style of Cain is at the service of serious artistic ends.

Integration and Inversion: Western Medieval Knights in Japanese Manga and Anime

While there has been mounting curiosity among Western scholars about Japanese animation as a significant pop culture form, less attention has been devoted to the interest Japanese artists have in the Western middle ages. However, Japanese anime and manga artists borrow and transfigure not just the cross but many other elements of Christianity (stained glass and other trappings of the Church) and of Western medieval culture (the castle, the garden, the knight). In addition to occasional and relatively brief uses of such images, some anime and manga make extended use of medieval iconography, narratives, and narrative techniques. Japanese writers have their own rich (medieval) history and culture to draw on for source material, so there is no pressing need to borrow from western medieval and biblical narratives. Yet as episodic and image-intensive genres, anime and manga have a stylistic affinity with early Western literature. This essay explores the way in which these forms of Japanese pop culture find creative ways to adapt the alien material of the Western Middle Ages for their own cultural and artistic ends.

A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music

Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal musics, in which the lyric poems inevitably concede something of their music to an appropriation by, and not merely a translation into, another artistic medium. Even when Schubert succeeds in exemplifying, or expanding upon, the symbolic richness of meaning embodied in the poem, we should consider the fate of overwritten meaning embodied in the musical language and form of the poem by itself.

The Art of Compromise: The Life and Work of Leonid Leonov by Boris s&gt; Thomson Leonid Leonov (review)

334 SEER, 82, 2, 2004 the novel, specifically the scenes at the Enchanted Hunters and Hourglass Lake,with Humbert Humbert playing the role of Prince Charming. The finalpart of the book focuses on the versionsof America that the novel presents.John Haegart argues that Humbert Humbert uses his relationship with Lolita to develop a sense of identity in an alien land, but through a combination of his 'mediating'vision andhis solipsizingofLolitahe ultimately denies himselfaccess.Rachel Bowlby'sessaycontinuesthistheme of alienation in her exploration of Humbert Humbert's responses to America's consumer culture, epitomized by Lolita, and her significance as a representativeof the advertisingindustry'scynicalmanipulationof universalaspirationsand desires to create an alternative aesthetic dimension which is nothing more than an empty parody of all that it attempts to emulate. Michael Wood's review of Adrian Lyne's film concludes this section with some discussion of Stanley Kubrick's I962 version. Pifer's selection of the interview that completes this volume perfectly complements the issues it has raised. In it, Nabokov talks about being an American, about writershe likes and dislikes,books he has and has not read, about Kubrick's Lolita,extensively about poshlost,and briefly, yet incisively, about the novel's morality. The interview provides a wonderfully succinct answerto so much of what has been discussedin the preceding chapters,and leaves Nabokov, appropriately,with the lastword: Lolitais famous, not I. I am an obscure,doubly obscure,novelistwith an unpronounceable name (p. 206). Schoolof SlavonicandEast EuropeanStudies BARBARA WYLLIE University College London Thomson, Boris. TheArt of Compromise. 7The Life and Workof LeonidLeonov. University of Toronto Press, Toronto, Buffalo, NY, and London, 200I. xiii + 407 pp. Appendix. Notes. Bibliography.Index. $75.00; ?55.00. IN the Preface to this first English-language monograph on Leonov, Boris Thomson poses what is undoubtedly a pertinent question: 'Given the circumstancesof his times Leonov's artis an artof compromise. [... .] How far was he himself compromised in the process?' (p. xi). The process by which Leonov moved from the openly interrogativestance of his firsttwo novels to 'apparentlymore conformist works' (p. 79), and ultimately to the sprawling Piramida,published just weeks before his death in 1994, is exhaustively documented in the light of the view that 'He seems to have internalized the need for compromise and contrived to exploit it for artistic ends' (p. xi). Thomson's chronologically structuredaccount of Leonov's oeuvre is nothing if not exhaustive. Of particular value are his treatment of the differences between the journal and subsequent book publications of numerous works, and of the extensive revisions that the author undertook in the I950S and I960s, as well as his astuteand revealingelucidation of Leonov's referencesto other writersand works. His deep knowledge of and admirationfor Leonov's work, the subjectof his I965 doctoral thesis,is clear;and TheArtofCompromise is in a line of successionfrom ThePremature Revolution (London, I972) and Lot's REVIEWS 335 WifeandtheVenus ofMilo (Cambridge, I978), in which Leonov served as an importantpoint of reference. On occasions the book's syntax seems to betray its origins in an earlier period, as when we are told that 'Since the death of Stalin [Doroga na Okean] has regained official favour, and Soviet critics have treated it with growing respect' (p. I7 I). Methodologically, too, the book is very much of a piece with Thomson's earlierwork. This is evident, firstand foremost, in its predominant biographism, which can produce interesting insights, such as the identification of references to Leonov's own politically suspect past in the biography of one of the characters in Dorogana Okean (p. I6o), or the suggestions of parallelsbetween Leonov's literarycareer and those of both the positive and negative heroes, Vikhrov and Gratsianskii,in Russkiiles(pp. 222, 235-36). Just as often, however, this approach is likely to produce a banal comment about how Leonov's 'notably happy marriage' is surprisingly not reflected in his characters' family relationships (p. 89), or resolutely old-fashioned assertions such as 'Leonov's true beliefs are also present in the text, and can be shown to be consistent within it' (p. I 23) (on another occasion [p. 28] the word 'text' is bounded in scare quotes that accentuate a hostility or indifference to less traditional approaches that...

Bridging Literature and Linguistics

Two majors linguistics and literature in the schools of letters both in the state and private universities throughout Indonesia are commonly separated sharply. Courses of literature in the Department of Linguistics are offered minimally, such that the students of linguistics are not given a conducive atmosphere to express their literary appreciation. Likewise, courses of linguistics in the Department of Literature are very restricted, so that the students of literature are unable to analyze literary works from the points of linguistic view. This paper tries to bridge linguistics and literature. The attempt to bridge linguistics and literature is based on three postulates: (I) literature consists of linguistic objects designed with an artistic end, (2) linguistic objects are formal objects, and (3) a formal account of linguistic object designed with an artistic end approximates a formal account of that artistic design. Two major directions in the approaches and emphases will be presented in the paper exogenous and endogenous. Exogenous approach tries to search for adequate description of (1) poetic language as contrasted with ordinary language, (2) language of a particular author contrasted with that of other authors, and (3) a particular literary work contrasted with other works of the same author. This part touches upon three areas of exogenous approach isolation, description, and characterization. Endogenous, on the hand, is based upon an assumption that a writer exhibits, probably without realizing it, certain systematic preferences for particular aspects of linguistic patterns. Planning a bridge between linguistics and literature is by no means without problems. Therefore, this paper also presents some possible solutions.