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37.More information
ABSTRACTWhen thinking about the relationship between film and literature, we usually focus on the influence of the former upon the latter. This article proposes a different perspective. It evokes the debate over the "reorganization of the artistic system" which arose after cinema's birth. It then demonstrates that a new visual sensibility arose at the turn of the century, particularly in literature, whether this literature had any direct link to the cinema or not. Eisenstein called the visual techniques found in "pre-cinematographic" literature "cinematism," and analysed these techniques in a number of works by Pushkin, Gogol, and Zola. Unlike Shklovskii, who insisted on the formal differences between the two media, Eisenstein located periods within film history which co-related to literary history. These debates are discussed here and contrasted with another conception of cinematism, that developed by modernist authors such as Bulgakov and Zamiatin.
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40.More information
The present article is a modest introduction to a larger theme that analyzes the use of music as text in the plays, short stories and novels of Mixail Bulgakov. The important contribution of Juri Lotman's theoretical work on artistic space, the semiosphere, and the role of incorporating “texts within texts” (текст в тексте) is fundamental to our explication of the process of understanding Bulgakov's use of music as text in a variety of its manifestations, resulting in an integrated and full-bodied textual structure that generates meanings critical to the works in which it is embedded. This analysis will focus on defining what “music as text” is for Bulgakov and specifically consider the use of music in the play, Zoya's Apartment (Зойкина квартира).
Keywords: Bulgakov, Music as Text, Culture Text, Lotman, Zoya's Apartment, Bulgakov, musique comme texte, culture comme texte, Lotman, L'appartement de Zoya