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The Orchestration of the Arts — A Creative Symbiosis of Existential Powers

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Table of Contents

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    Book Overview
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    Chapter 1 Introduction
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    Chapter 2 Paradox and Metaphor: An Integrity of the Arts
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    Chapter 3 Aesthetic Symbiosis and Spiritual Quest: Grünewald’s Isenheim Altarpiece in Hindemith’s Opera Mathis Der Maler
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    Chapter 4 The Ambiguity of Baroque Enchantment: Operatic Mise en Abyme
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    Chapter 5 The Musicalization of Prose: Prolegomena to the Experience of Literature in Musical Form
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    Chapter 6 Calderòn’s Dramatic Technique: The Orchestration of the Arts, from Drama to Opera
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    Chapter 7 Baroque Splendor: Vierzehnheiligen Church and Bach’s B-Minor Mass
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    Chapter 8 Orchestration of the Universe: Reflections on Tagore’s Creativity
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    Chapter 9 The Synergies of Mind and Muse: Reflections on Nineteenth-Century Thought and a Comparative Analysis of Dante Gabriel Rossetti’s Poem and Painting the Blessed Damozel and Claude Debussy’s La Damoiselle Elue
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    Chapter 10 The Interdependency of Literature, Architecture, Theater and Music as an Expression of Baroque Absolutism at the Hapsburg Court in Vienna
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    Chapter 11 Literature and Architecture as a Metaphor of “Grandeur” and “Decadence”
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    Chapter 12 Louis Sullivan: The Life-Enhancing Symbiosis of Music, Language, Architecture, and Ornament
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    Chapter 13 An Orchestration of the Arts in Wallace Stevens’ “Peter Quince at the Clavier”
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    Chapter 14 The Harmonic Conceit: Music, Nature and Mind in Wordsworth’s Prelude
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    Chapter 15 Histoire De L’Aveugle : “Matiérisme” ’s Critique of Vision
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    Chapter 16 Images of Water and the Sea in Tristan L’ Hermite’s “La Mer” and in Painting
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    Chapter 17 Fire and Ice: Le Verre Magique, Le Vrai Magique
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    Chapter 18 W.E.B. Du Bois’ The Souls of Black Folk as an Example of the Tragic
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    Chapter 19 The Blending of Natures and the Perception of the Real
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    Chapter 20 The Symbiosis and the Interaction of the Arts: Cesário Verde, Poet/Painter
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    Chapter 21 This is Mine, and I Can Hold It: Edna St. Vincent Millay and Her Music
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    Chapter 22 The Terpsichorean Poem
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    Chapter 23 A Study in Nostalgia: The Orchestration of Life in Façade
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    Chapter 24 Interreflection of Complementary Expressive Means in Combined-Media Art Performances
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    Chapter 25 The Orchestration of the Arts in Leïla Sebbar’s Shérazade, 17 Ans, Brune, Frisée, Les Yeux Verts
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    Chapter 26 Beauty and the Dialogue of the Arts
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    Chapter 27 A Look at Modernism from the Keyboard: The Piano in the Parlor and Abstract Art
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    Chapter 28 Pierre Puvis De Chavannes, Richard Wagner, and Émile Bernard: Composition and Meaning in the Late Nineteenth Century
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    Chapter 29 The Temporal Character of Catherine Schieve’s Slide Opera
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    Chapter 30 An Unfolding of Theory and Practice: From Ingarden to a Phenomenological Aesthetic for Opera
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    Chapter 31 Emotion, Metaphor, Music, and Humor
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    Chapter 32 The Cultural Milieu of Francis Poulenc (1899–1963) and His “Musique De Tous Les Jours”
Attention for Chapter 4: The Ambiguity of Baroque Enchantment: Operatic Mise en Abyme
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Chapter title
The Ambiguity of Baroque Enchantment: Operatic Mise en Abyme
Chapter number 4
Book title
The Orchestration of the Arts — A Creative Symbiosis of Existential Powers
Published by
Springer, Dordrecht, January 2000
DOI 10.1007/978-94-017-3411-0_4
Book ISBNs
978-9-04-815335-0, 978-9-40-173411-0
Authors

Herbert Josephs