Show Less
Restricted access

Visions and Revisions

Studies in Literature and Culture


Edited By Grzegorz Czemiel, Justyna Galant, Anna Kędra-Kardela, Aleksandra Kędzierska and Marta Komsta

Collected under the theme of Visions and Revisions, the papers included in this volume examine different aspects of literature and culture of the Anglophone world. The first part gathers articles dealing with poetry of such epochs as the seventeenth century, the Victorian era and the modern times. Part two focuses on prose works representing such conventions and modes as the romance, the Gothic novel, the condition of England novel, Victorian and neo-Victorian fiction, the science fiction novel and gay fiction. Part three concerns various aspects of British and American culture, including the new media, drama and journalism, and advertising. In its diversity the volume reflects the dynamics of change in literature and culture, enabling the readers to investigate the multifaceted canon.
Show Summary Details
Restricted access

In the (Neo)Baroque Universe of Looped Voices: Lanford Wilson’s Fugue Spectacle in The Hot l Baltimore

← 288 | 289 →Agnieszka Matysiak


While discussing his theory of “attraction” [gravitación],1 Eugenio d’Ors explicates that

it works by positing that in the series of art forms – music, poetry, painting, sculpture, architecture – each medium occupies an unfixed position and, depending on the times, trends and artists, tends to adopt the characteristics of the neighboring art form. Thus, in classical periods, music becomes poetic, poetry graphic, painting sculptural, and sculpture architectural. In Baroque periods,2 the attraction works in the opposite direction; the architect sculpts, sculpture paints, and painting and poetry take on music’s dynamic tones. Since all Baroque style tends toward pantheism,3 all Baroque calligraphy4 tends toward music.(2010, 85)

That confluence of scholarly discourses and their mutual pervasiveness seem to make any endeavors to separate the respective art forms utterly impossible. Therefore, being one of the most significant components of the Baroque aesthetics that ← 289 | 290 →encompasses the objectives of both science and art, it is music, d’Ors asserts, that is to be considered the phenomenon “of time in which the role of movement is of utmost importance, [since] it obeys gravity in its own way, [whereas] architecture can only depart so much from its necessarily static mode of visual representation” (2010, 85). That mutual pervasiveness of time and movement endows music with distinctive cohesion and coherence, which thus make it an absolutely unique form of art. Since Baroque architecture is embedded in the monumental, yet dramatic, stillness, thus it is music that is able to transcend...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.