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This article traces the connection (of a primarily typological, rather than genetic nature) between the conceptualization of musical aesthetics developed by Early German Romanticism – first in literary and only subsequently in theoretical discourse – and the understanding of form articulated in the literary theory of Russian Formalism, and then further expanded by theoretical groups such as Prague Structuralism, and more recently Poststructuralism. According to this thesis, the result of these conceptualizations of non-referential, so-called absolute music was a dynamic understanding of artistic form, which, in turn, could fruitfully be applied to literature and its non-referential expressivity. To trace the