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The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen

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2018
Bojana_Radovanovic_Gostuski_Screen_Theory_Transpositions_2018.pdf (1.087Mb)
Authors
Radovanović, Bojana
Contributors
Veselinović-Hofman, Mirjana
Mikić, Vesna
Mladjenović Popović, Tijana
Perković, Ivana
Book part (Published version)
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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.

Keywords:
Gostuški / Dragutin Gostuški / theory of screen / comparative aesthetics / musicology / interdisciplinarity
Source:
MUSIC/IMAGE: transpositions, translations, transformations..., 2018, 141-148
Publisher:
  • Belgrade : Department of Musicology, Faculty of Music

Cobiss ID: 268173580

ISBN: 978-86-88619-99-8

[ Google Scholar ]
URI
http://dais.sanu.ac.rs/123456789/4648
Collections
  • МИ САНУ - Радови истраживача / MI SASA - Researchers' publications
Institution
Музиколошки институт САНУ / Institute of Musicology SASA
TY  - CHAP
AU  - Radovanović, Bojana
PY  - 2018
UR  - http://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
ER  - 
@article{
author = "Radovanović, Bojana",
year = "2018",
url = "http://dais.sanu.ac.rs/123456789/4648",
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...",
title = "The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen",
pages = "141-148"
}
Radovanović B. The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen. MUSIC/IMAGE: transpositions, translations, transformations.... 2018;:141-148
,& Radovanović, B. (2018). The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen.
MUSIC/IMAGE: transpositions, translations, transformations...Belgrade : Department of Musicology, Faculty of Music., null, 141-148. 
Radovanović Bojana, "The Communication and Analogies between Music and Image: Dragutin Gostuški’s Theory of the Screen" null (2018):141-148

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