Table of contents

Acknowledgements

The orchestration of the arts

A new approach to the great questions

Anna-Teresa Tymieniecka

11-13

Introduction

Marlies Kronegger

1-2

Paradox and metaphor

An integrity of the arts

Lawrence Kimmel

5-16

Aesthetic symbiosis and spiritual quest

Grünewald's Isenheim altarpiece in Hindemith's opera Mathis der Maler

Siglind Bruhn

17-51

The ambiguity of baroque enchantment

Operatic mise en abyme

Herbert Josephs

53-63

The musicalization of prose

Prolegomena to the experience of literature in musical form

William Grim

65-73

Calderòn's dramatic technique

The orchestration of the arts, from drama to opera

Didier Souiller

75-87

Baroque splendor

Vierzehnheiligen church and Bach's b-minor mass

Sally Hoople

89-96

Orchestration of the universe

Reflections on Tagore's creativity

Sitansu Ray

99-112

The synergies of mind and muse

Reflections on nineteenth-century thought and a comparative analysis of Dante Gabriel Rossetti's poem and painting The blessed damozel and Claude Debussy's La damoiselle élue

Sabine Coelsch-Foisner

113-133

The interdependency of literature, architecture, theater and music as an expression of baroque absolutism at the Hapsburg court in Vienna

Gottfried Scholz

135-148

Literature and architecture as a metaphor of "grandeur" and "decadence"

Marie-Odile Sweetser

149-164

Louis Sullivan

The life-enhancing symbiosis of music, language, architecture, and ornament

Richard Eltin

165-182

An orchestration of the arts in Wallace Stevens' "Peter quince at the clavier"

Sidney Feshbach

183-194

The harmonic conceit

Music, nature and mind in Wordsworth's prelude

Jason Snart

197-207

Histoire de l'aveugle

"matiérisme"'s critique of vision

Rachel Perry

209-240

Images of water and the sea in Tristan L'hermite's "La mer" and in painting

Cynthia Osowiec Ruoff

241-254

Fire and ice

Le verre magique, le vrai magique

Patricia Trutty-Coohill

257-264

W. E. B. Dubois' the souls of black folk as an example of the tragic

Robert Schaffer

265-274

The blending of natures and the perception of the real

Tony Raczka

275-281

The symbiosis and the interaction of the arts

Cesário Verde, poet/painter

Nancy Campi De Castro

283-292

This is mine, and I can hold it

Edna St. Vincent Millay and her music

Karen Karbiener

293-302

The terpsichorean poem

Debra San

305-313

A study in nostalgia

The orchestration of life in façade

George Tibbetts

315-323

Interreflection of complementary expressive means in combined-media art performances

Lydia Voronina

325-342

The orchestration of the arts in Leïla Sebbar's Shérazade, 17 ans, brune, frisée, les yeux verts

Mary E. Mccullough

343-350

Beauty and the dialogue of the arts

Osvaldo Rossi

351-362

A look at modernism from the keyboard

The piano in the parlor and abstract art

Eldon Van Liere

365-378

Pierre Puvis de Chavannes, Richard Wagner, and Émile Bernard

Composition and meaning in the late nineteenth century

Deborah Trousdale

379-389

The temporal character of Catherine Schieve's Slide opera

Karl Volkmar

391-400

An unfolding of theory and practice

From Ingarden to a phenomenological aesthetic for opera

Ellen Burns

401-416

Emotion, metaphor, music, and humor

Warren Shibles

417-436

The cultural milieu of Francis Poulenc (1899–1963) and his "musique de tous les jours"

Stéphanie Weaver

437-467

Index of names