Advertisement

Literature and the Other Arts

  • Francesco Campana
Chapter

Abstract

In order to understand the peculiarity of literature and enable the later exploration of a possible ‘end of literature’ tradition, in this chapter I tackle the divide between literature and the other arts. The chapter is structured in two parts: the former is theoretical, and the latter is historical. In the first part, I investigate the difference between literature and the other arts, taking into consideration first of all our common view on the matter and then, with a more technical approach, analysing the relationships between objects and artworks, artworks and texts, texts and literature. In the second part, I give a historical overview of the divide between literature and the other arts, and I examine the different phases and configurations that have emerged from it.

Keywords

Literature Arts Objects Artworks Texts 

References

  1. Aristotle. (1959). Politics. Eng. transl. by H. Rackham. London and Cambridge, MA: William Heinemann and Harvard University Press.Google Scholar
  2. Aristotle. (1962). The Nicomachean Ethics. Eng. transl. by H. Rackham. London and Cambridge, MA: William Heinemann and Harvard University Press.Google Scholar
  3. Aristotle. (1995). Poetics. Eng. transl. by S. Halliwell. Cambridge, MA and London: Harvard University Press.Google Scholar
  4. Barbero, C. (2013). Filosofia della letteratura. Roma: Carocci.Google Scholar
  5. Barthes, R. (1984a). La mort de l’auteur. In R. Barthes, Le bruissement de la langue. Essais critiques IV (pp. 63–69). Paris: Éditions du Seuil. Eng. transl. by S. Heath. (1977). The Death of the Author. In R. Barthes, Image, Music, Text (pp. 142–148). London: Fontana Press.Google Scholar
  6. Barthes, R. (1984b). De l’œuvre au texte. In R. Barthes, Le bruissement de la langue. Essais critiques IV (pp. 69–77). Paris: Éditions du Seuil. Eng. transl. by S. Heath. (1977). From Work to Text. In R. Barthes, Image, Music, Text (pp. 155–164). London: Fontana Press.Google Scholar
  7. Bertram, G. (2011). Kunst. Eine philosophische Einführung. Stuttgart: Reclam.Google Scholar
  8. Bottiroli, G. (2006). Che cos’è la teoria della letteratura. Fondamenti e problemi. Torino: Einaudi.Google Scholar
  9. Bourdieu, P. (1979). La distinction. Critique sociale du jugement. Paris: Les Éditions de Minuit. Eng. transl. by R. Nice. (1984). Distinction. A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press.Google Scholar
  10. Compagnon, A. (1998). Le Démon de la théorie. Littérature et sens commun. Paris: Édition du Seuil. Eng. transl. by C. Cosman. (2004). Literature, Theory, and Common Sense. Princeton, NJ: Princeton University Press.Google Scholar
  11. Currie, G. (1989). An Ontology of Art. New York: St. Martin’s Press.CrossRefGoogle Scholar
  12. D’Angelo, P. (2011). Estetica. Roma and Bari: Laterza.Google Scholar
  13. Davies, D. (2003). Medium in Art. In J. Levinson (Ed.), The Oxford Handbook of Aesthetics (pp. 181–191). Oxford: Oxford University Press.Google Scholar
  14. Davies, S. (2003). Ontology of Art. In J. Levinson (Ed.), The Oxford Handbook of Aesthetics (pp. 155–180). Oxford: Oxford University Press.Google Scholar
  15. Davies, D. (2004). Art as Performance. Oxford: Blackwell.CrossRefGoogle Scholar
  16. Davies, D. (2007). Aesthetics & Literature. London and New York: Continuum.Google Scholar
  17. Eagleton, T. (2008). Literary Theory. An Introduction. Minneapolis: University of Minnesota Press.Google Scholar
  18. Eco, U. (2009). Arte e bellezza nell’estetica medievale. Milano: Bompiani.Google Scholar
  19. Foucault, M. (1994). Qu’est-ce qu’un auteur? In M. Foucault, Dits et écrits. 1954–1988 (pp. 789–821). Vol. 1. Paris: Gallimard. Eng. transl. by J. V. Harari. (1979). What Is an Author? In J. V. Harari (Ed.), Textual Strategies: Perspectives in Post-Structuralist Criticism (pp. 141–160). Ithaca, NY: Cornell.Google Scholar
  20. Ginzburg, C. (2018). Nondimanco: Machiavelli, Pascal. Milano: Adelphi.Google Scholar
  21. Giombini, L. (2017). Musical Ontology. A Guide for the Perplexed. Milano and Udine: Mimesis International.Google Scholar
  22. Goehr, L. (2007). The Imaginary Museum of Musical Works. An Essay in the Philosophy of Music. Oxford: Oxford University Press.Google Scholar
  23. Goodman, N. (1976). Languages of Art. An Approach to a Theory of Symbols. Indianapolis: Hackett Publishing Company.Google Scholar
  24. Hauser, A. (1953a). Sozialgeschichte der Kunst und Literatur. Vol. 1. München: C.H. Beck’sche Verlagsbuchhandlung. Eng. transl. by S. Godman. (1999). The Social History of Art. From Prehistoric Times to the Middle Ages. London and New York: Routledge.Google Scholar
  25. Hauser, A. (1953b). Sozialgeschichte der Kunst und Literatur. Vol. 1. München: C.H. Beck’sche Verlagsbuchhandlung. Eng. transl. by S. Godman. (1999). The Social History of Art. Renaissance, Mannerism, Baroque. London and New York: Routledge.Google Scholar
  26. Hauser, A. (1953c). Sozialgeschichte der Kunst und Literatur. Vol. 2. München: C.H. Beck’sche Verlagsbuchhandlung. Eng. transl. by S. Godman. (1999). The Social History of Art. Rococo, Classicism and Romanticism. London and New York: Routledge.Google Scholar
  27. Heidegger, M. (1977). Der Ursprung des Kunstwerkes. In M. Heidegger, Holzwege. Gesamtausgabe. Vol. 1, 5 (pp. 1–74). Ed. by F.-W. von Herrmann. Frankfurt am Main: Vittorio Klostermann. Eng. transl. by A. Hofstadter. (2001). The Origin of the Work of Art. In M. Heidegger, Poetry, Language, Truth (pp. 17–86). New York: HarperCollins.Google Scholar
  28. Howell, R. (2002). Ontology and the Nature of the Literary Work. The Journal of Aesthetics and Art Criticism, 60(1), 67–79.CrossRefGoogle Scholar
  29. Ingarden, R. (1972). Das literarische Kunstwerk. Tübingen: Niemeyer. Eng. transl. by G. G. Grabowicz. (1973). The Literary Work of Art. Evanston, IL: Northwestern University Press.Google Scholar
  30. Jakobson, R. (1977). Huit questions de poétique. Paris: Éditions du Seuil.Google Scholar
  31. Kennick, W. E. (1958). Does Traditional Aesthetics Rest on a Mistake? Mind, 67(267), 317–334.CrossRefGoogle Scholar
  32. Kivy, P. (1997). Philosophies of Arts. An Essay in Differences. Cambridge: Cambridge University Press.Google Scholar
  33. Kristeller, P. O. (1951). The Modern System of the Arts: A Study in the History of Aesthetics Part I. Journal of the History of Ideas, 12(4), 496–527.CrossRefGoogle Scholar
  34. Kristeller, P. O. (1952). The Modern System of the Arts: A Study in the History of Aesthetics (II). Journal of the History of Ideas, 13(1), 17–46.CrossRefGoogle Scholar
  35. Lamarque, P. (2009). The Philosophy of Literature. Oxford: Blackwell.Google Scholar
  36. Lamarque, P. (2010). Work and Object. Explorations in the Metaphysics of Art. Oxford: Oxford University Press.CrossRefGoogle Scholar
  37. Landels, J. G. (2000). Music in Ancient Greece and Rome. London and New York: Routledge.Google Scholar
  38. Lessing, G. E. (1990). Laokoon: oder über die Grenzen der Malerei und Poesie. In G. E. Lessing, Werke und Briefe in zwölf Bänden. Vol. 5.2 (pp. 11–206). Ed. by W. Barner. Frankfurt am Main: Suhrkamp. Eng. transl. by W. A. Steel. (1970). Laocoön. In G. E. Lessing, Laocoön, Nathan the Wise, Minna von Barnhelm (pp. 1–110). New York: Dent & Dutton.Google Scholar
  39. Margolis, J. (1980). Art and Philosophy. Atlantic Heights, NJ: Humanities Press.Google Scholar
  40. Müller, E., & Schmieder, F. (2017). Begriffsgeschichte und historische Semantik. Ein kritisches Kompendium. Berlin: Suhrkamp.Google Scholar
  41. Pike, K. L. (1967). Language in Relation to a Unified Theory of the Structure of Human Behavior. The Hague: Mouton.Google Scholar
  42. Plato. (2005). Phaedrus. Eng. transl. by H. N. Fowler. In Plato, Euthyphro. Apology. Crito. Phaedo. Phaedrus (pp. 405–579). Cambridge, MA and London: Harvard University Press.Google Scholar
  43. Ribeiro, A. C. (2009). Toward a Philosophy of Poetry. Midwest Studies in Philosophy, 33, 61–77.CrossRefGoogle Scholar
  44. Rosenberg, R. (2002). Literarisch/Literatur. In K. Bark et al. (Eds.), Ästhetische Grundbegriffe. Historisches Wörterbuch in sieben Bänden. Medien-Popular. Vol. 4 (pp. 665–693). Stuttgart and Weimar: Mezler.CrossRefGoogle Scholar
  45. Shiner, L. (2001). The Invention of Art. A Cultural History. Chicago and London: Chicago University Press.CrossRefGoogle Scholar
  46. Stocker, B. (2018). Philosophy of the Novel. Cham: Palgrave Macmillan.CrossRefGoogle Scholar
  47. Szondi, P. (1974c). Von der normativen zur spekulativen Gattungspoetik. In P. Szondi, Poetik und Geschichtsphilosophie. Vol. 2 (pp. 7–183). Frankfurt am Main: Suhrkamp.Google Scholar
  48. Tatarkiewicz, W. (1970a). History of Aesthetics. 1. Ancient Aesthetics. Ed. by J. Harrell, Eng transl. by A. Czerniawski & A. Czerniawski. The Hague and Paris: Mouton; Warszawa: Polish Scientific Publishers.Google Scholar
  49. Tatarkiewicz, W. (1970b). History of Aesthetics. 2. Medieval Aesthetics. Ed. by C. Barrett, Eng. transl. by R. M. Montgomery. The Hague and Paris: Mouton; Warszawa: Polish Scientific Publishers.Google Scholar
  50. Tatarkiewicz, W. (1974). History of Aesthetics. 3. Modern Aesthetics. Ed. by D. Petsch, Eng. transl. by C. A. Kisiel & J. F. Besemeres. The Hague and Paris: Mouton; Warszawa: Polish Scientific Publishers.Google Scholar
  51. Tatarkiewicz, W. (1980). A History of Six Ideas. An Essay in Aesthetics. The Hague, Boston, and London: Martinus Nijhoff; Warszawa: Polish Scientific Publishers.Google Scholar
  52. Thomasson, A. L. (2004). The Ontology of Art. In P. Kivy (Ed.), The Blackwell Guide to Aesthetics (pp. 78–92). Oxford: Blackwell.Google Scholar
  53. Thomasson, A. L. (2016). The Ontology of Literary Works. In N. Carroll & J. Gibson (Eds.), The Routledge Companion to Philosophy of Literature (pp. 349–358). New York and London: Routledge.Google Scholar
  54. Ullrich, W. (2002). Kunst/Künste/System der Künste. In K. Bark et al. (Eds.), Ästhetische Grundbegriffe. Historisches Wörterbuch in sieben Bänden. Harmonie–Material. Vol. 3 (pp. 556–616). Stuttgart and Weimar: Mezler.CrossRefGoogle Scholar
  55. Wollheim, R. (1980). Art and Its Objects. With Six Supplementary Essays. Cambridge, London, and New York: Cambridge University Press.CrossRefGoogle Scholar
  56. Wolterstorff, N. (2003). Works and Worlds of Art. Oxford: Clarendon.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Francesco Campana
    • 1
  1. 1.University of PaduaPaduaItaly

Personalised recommendations