Unlike narrative, description is a miles much less researched phenomenon, and the place it thus far has came upon awareness in any respect, students have in most cases 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 more often than not and isn't just a transgeneric but additionally a transmedial phenomenon that may be present in many different media and humanities. This publication is a pioneering interdisciplinary research of description because it for the 1st time undertakes to shut this examine lacuna by way of highlighting description and its relevance almost about a large spectrum of arts and media. the quantity opens with a close introductory essay, which goals at clarifying the descriptive as a uncomplicated semiotic kind of organizing indicators from a theoretical point of view but additionally presents a primary assessment of the makes use of of description in addition to its problematics in fiction, portray and instrumental song. mainly a part of the booklet, 9 contributions through students from quite a few disciplines discover description in person media and various cultural epochs. the 1st component to the publication is devoted to literature and comparable (partly) verbal media and encompasses a typological and ancient survey of description in fiction in addition to discussions of its incidence in poetry, nature writing, radioliterature and picture. the second one half bargains with the (purely) visible media and levels from a presentation of the descriptive recommendations utilized in Dürer's picture reproductions to normal reflections on 'the descriptive' within the visible arts in addition to in images. a 3rd part on description in track offers 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 reports, background of artwork, and musicology.
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Extra resources for Description in Literature and Other Media (Studies in Intermediality, Volume 2)
The use of certain verb forms (tendentially non-finite forms and non-actantional aspects), yet such specific features would hardly be characteristics of the descriptive if considered in a wider, intermedial context. 30 Werner Wolf nyms) or belong to the same semantic class and are thus more predictable than the individual signs employed for the transmission of narratives (cf. Bal 1981/1982: 10436). The relative predictability and apparent superfluousness of a plurality of ‘graphic’ details – ‘superfluous’ if seen from the perspective of narrative relevance37 – is at the same time a stimulus which contributes to triggering the frame ‘description’ in the recipient’s mind.
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.
This ‘something else’ may best be described as the presence or absence of the core elements of typical narratives: motivated actions that involve anthropomorphic agents, are interrelated not only by chronology but also by causality and teleology and lead to, or are consequences of, conscious acts or decisions, frequently as results of conflicts. Jeffrey Kittay is right when he says that descriptions typically refer to, and respect, “surface[s]” and bor27 Chatman, before referring to Homer’s “‘dramatized’ descriptions admired by Lessing” (1990: 32) emphasizes himself that “movement” does not “necessarily mark the end of description and the beginning of narrative” (31); cf.