Data di Pubblicazione:
2015
Citazione:
Semantics of the Painted Image in Hugo von Hofmannsthal’s Tod des Tizian / M. Pirro. - In: NEOPHILOLOGUS. - ISSN 0028-2677. - 99:4(2015), pp. 595-603. [10.1007/s11061-015-9443-7]
Abstract:
Form theories in Hofmannstahl’s aesthetic program aim at a reciprocal empowerment of life and art. Titian’s last painting in Tod des Tizian (1892) has to express a concept of unity and totality of all living things. Most disciples are not able to understand this, as they can’t get free of the model of existence of the aesthete, who rejects life, perceiving it as abandoned to chaos and disorder, but is incapable of replacing it with any other form because he exalts art as an object of mere idolatry, as a pure and simple instrument of defence from the pitfalls of life.
Tipologia IRIS:
01 - Articolo su periodico
Keywords:
Fin de siècle; Hugo von Hofmannsthal; Intermediality; Tod des Tizian; Linguistics and Language; Literature and Literary Theory
Elenco autori:
M. Pirro
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