The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen
Аутори
Radovanović, BojanaОстала ауторства
Veselinović-Hofman, MirjanaMikić, Vesna
Mladjenović Popović, Tijana
Perković, Ivana
Поглавље у монографији (Објављена верзија)
Метаподаци
Приказ свих података о документуАпстракт
In his doctoral dissertation (Vreme umetnosti, 1968), Dragutin Gostuški
argues that one of the most important missions for the contemporary theory of the arts
to partake in is to systematically examine matters through the methodology of comparative
aesthetical morphology. Later, he proposes the theory of screen as a predetermined
constructed system that enables the processing and decoding of “the data
received from the real world and their interpretations through art, language and science”.
In this paper, I will look into the mechanisms of Gostuški’s theory and the use of
holography as an interpretative technique that he proposes, as well as the
In this paper I examine the mechanisms of Dragutin Gostuški’s theory of screen, as well
as holography – an interpretative technique he proposes. Likewise, the question is
raised about the possibility and the nature of transpositions between music and the
visual arts through this technique. The goal of this paper is to acknowledge the important
features of Gostuški’s idea and to discuss the application of the theory in the correlation
of music and the visual arts, as presented in Gostuški’s book Vreme umetnosti.
Prilog zasnivanju jedne opšte nauke o oblicima (1968).
The first part of this article represents the analysis of the theory itself, as presented
in Gostuški’s paper Realnost, muzika, jezik. Prilog proučavanju problema značenja
(1973). Given the fact that some important settings of the theory were made in his book
(Vreme umetnosti) from a few years before, the second part of the text looks into examples
of the comparative overview of arts presented in this study, most ...notably, the
issues of the musical Gothic and Renaissance period timeframes, and transposing the
ideas, techniques, and principles in the different artistic fields of the time.
Кључне речи:
Gostuški / Dragutin Gostuški / theory of screen / comparative aesthetics / musicology / interdisciplinarityИзвор:
MUSIC/IMAGE: transpositions, translations, transformations..., 2018, 141-148Издавач:
- Belgrade : Department of Musicology, Faculty of Music
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - CHAP AU - Radovanović, Bojana PY - 2018 UR - https://dais.sanu.ac.rs/123456789/4648 AB - In his doctoral dissertation (Vreme umetnosti, 1968), Dragutin Gostuški argues that one of the most important missions for the contemporary theory of the arts to partake in is to systematically examine matters through the methodology of comparative aesthetical morphology. Later, he proposes the theory of screen as a predetermined constructed system that enables the processing and decoding of “the data received from the real world and their interpretations through art, language and science”. In this paper, I will look into the mechanisms of Gostuški’s theory and the use of holography as an interpretative technique that he proposes, as well as the AB - In this paper I examine the mechanisms of Dragutin Gostuški’s theory of screen, as well as holography – an interpretative technique he proposes. Likewise, the question is raised about the possibility and the nature of transpositions between music and the visual arts through this technique. The goal of this paper is to acknowledge the important features of Gostuški’s idea and to discuss the application of the theory in the correlation of music and the visual arts, as presented in Gostuški’s book Vreme umetnosti. Prilog zasnivanju jedne opšte nauke o oblicima (1968). The first part of this article represents the analysis of the theory itself, as presented in Gostuški’s paper Realnost, muzika, jezik. Prilog proučavanju problema značenja (1973). Given the fact that some important settings of the theory were made in his book (Vreme umetnosti) from a few years before, the second part of the text looks into examples of the comparative overview of arts presented in this study, most notably, the issues of the musical Gothic and Renaissance period timeframes, and transposing the ideas, techniques, and principles in the different artistic fields of the time. PB - Belgrade : Department of Musicology, Faculty of Music T2 - MUSIC/IMAGE: transpositions, translations, transformations... T1 - The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen SP - 141 EP - 148 UR - https://hdl.handle.net/21.15107/rcub_dais_4648 ER -
@inbook{ author = "Radovanović, Bojana", year = "2018", abstract = "In his doctoral dissertation (Vreme umetnosti, 1968), Dragutin Gostuški argues that one of the most important missions for the contemporary theory of the arts to partake in is to systematically examine matters through the methodology of comparative aesthetical morphology. Later, he proposes the theory of screen as a predetermined constructed system that enables the processing and decoding of “the data received from the real world and their interpretations through art, language and science”. In this paper, I will look into the mechanisms of Gostuški’s theory and the use of holography as an interpretative technique that he proposes, as well as the, In this paper I examine the mechanisms of Dragutin Gostuški’s theory of screen, as well as holography – an interpretative technique he proposes. Likewise, the question is raised about the possibility and the nature of transpositions between music and the visual arts through this technique. The goal of this paper is to acknowledge the important features of Gostuški’s idea and to discuss the application of the theory in the correlation of music and the visual arts, as presented in Gostuški’s book Vreme umetnosti. Prilog zasnivanju jedne opšte nauke o oblicima (1968). The first part of this article represents the analysis of the theory itself, as presented in Gostuški’s paper Realnost, muzika, jezik. Prilog proučavanju problema značenja (1973). Given the fact that some important settings of the theory were made in his book (Vreme umetnosti) from a few years before, the second part of the text looks into examples of the comparative overview of arts presented in this study, most notably, the issues of the musical Gothic and Renaissance period timeframes, and transposing the ideas, techniques, and principles in the different artistic fields of the time.", publisher = "Belgrade : Department of Musicology, Faculty of Music", journal = "MUSIC/IMAGE: transpositions, translations, transformations...", booktitle = "The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen", pages = "141-148", url = "https://hdl.handle.net/21.15107/rcub_dais_4648" }
Radovanović, B.. (2018). The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen. in MUSIC/IMAGE: transpositions, translations, transformations... Belgrade : Department of Musicology, Faculty of Music., 141-148. https://hdl.handle.net/21.15107/rcub_dais_4648
Radovanović B. The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen. in MUSIC/IMAGE: transpositions, translations, transformations.... 2018;:141-148. https://hdl.handle.net/21.15107/rcub_dais_4648 .
Radovanović, Bojana, "The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen" in MUSIC/IMAGE: transpositions, translations, transformations... (2018):141-148, https://hdl.handle.net/21.15107/rcub_dais_4648 .