In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.
://www.folklore.ee/incantatio/Incantatio_2011_1_Passalis.pdf (accessed June 1, 2017).
Prut , Constantin 1972 Fantasticul în arta populară românească [TheFantastic in Romanian Traditional Art]. Bucharest : Publishing House Meridiane .
Rooper , Jonathan 2009 Charms, Charmers
This article takes the case of the Italian author Dino Buzzati who, parallel to his literary oeuvre best known for its fantastic qualities, spent forty years from 1928 to 1972 as a journalist and columnist for Corriere della sera, practising every conceivable sub-genre of journalism and becoming a sort of 'directeur occulte' of the paper. Focusing on
Cronache terrestri, the selection of Buzzati's articles published posthumously, my analysis explores the borderline between literature and journalism
in Buzzati's work for Corriere, singling out for particular attention the intersection between specific journalistic techniques (in particular his 'leads'
and his titles) and his recourse to the 'fantastic' in the treatment of topical themes and contemporary events (including
Buzzati's 'borderline', I argue, can be posited as an 'in between-area' between literature and journalism, reality and fantasy,
where the signature of Buzzati, as correspondent for an authoritative Italian daily, validates the existence of (apparently)
'impossible' worlds, and where his accumulation of reportorial details and enumerations create fictions of (hyper) reality
and the conditions necessary to the 'hesitation' that Todorov ascribes to the fantastic mode.
The chapel of Dietach and its mural painting
. Beneath the former hospital of Dietach in Upper Austria there is a small chapel situated, which was supposedly built by the famous Baroque architect Johann Michael Prunner. He was the architect of Graf Franz Josef von Lamberg (Steyr), who founded the hospital of Dietach in 1687. In 1997 the chapel had to be removed because the street in front of it had to be enlarged. To save the chapel from destroying, it was moved seven metres backwards from the street in a remarkable operation, which was financed by the owner, the Bundesdenkmalamt and the government of Upper Austria. The restoration of the chapel put forth a significant mural painting with an illustration of the deposition of the cross, painted by Johann Georg Morzer in 1752. He is the painter of the crucifixion in the Cellar of the Coelestine-Abbey in Steyr. Today the chapel is a popular tourist attraction, primaryly because of the fantastic, restored mural painting inside.
Cette article interroge sur l’utilisation des images bibliques au sein de l’œuvre de Charles Nodier, pionnier du conte fantastique
en France. D’après une approche comparée les images bibliques originales sont confrontées avec les images transposées au sein
du récit fantastique. L’analyse s’intéresse à la conjonction entre narration, emprunt des images bibliques et le résultat
de cet emprunt dans une image modifiée qui fait référence à l’image original tout en participant dans un nouveau réseau de
signification. L’intertextualité des emprunts témoigne d’une créativité littéraire qui s’exprime dans une nouvelle cosmogonie
fantastique qui n’hésite pas à se servir d’un monde biblique afin de façonner une nouvelle interprétation du surnaturel.