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The Framing of Literary Studies, or, Is Comparative to Literature as Cultural Is to Studies?

The Framing of Literary Studies, or, Is Comparative to Literature as Cultural Is to Studies? THE COMPAUATIST , OR, IS COMPARATIVE TO LITERATURE AS CULTURAL IS TO STUDIES? Elaine Martin In April 1995 I had the good fortune to view a unique exhibition at the Van Gogh Museum in Amsterdam entitled "In Perfect Harmony: Picture and Frame 1850-1920." Suggesting the wider implications of the topic, Ronald de Leeuw and Klaus Albrecht Schröder have written that the period represented in this exhibition "was an epoch in which the various and fascinating aesthetic possibilities embodied in this link between the fiction of the painting and the reality of the wall were explored. "In Perfect Harmony" is an exhibition not only of tangible objects, but also of immaterial relations--that between picture and frame, which is in fact more than the sum of its parts" (Mendgen 7). It would be difficult to have experienced this exhibition, I think, without having one's way of looking at pictures changed forever. But one is also led to ponder the relationship between "the fiction" of all creative works and "the reality" of the culture in which they are both created and consumed. This unique visual experience--dare I say epiphany?--at the Van Gogh Museum led me to consider quite specifically the relationship http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

The Framing of Literary Studies, or, Is Comparative to Literature as Cultural Is to Studies?

Martin, Elaine
The Comparatist , Volume 20 (1) – Oct 3, 1996
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University of North Carolina Press
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Copyright © Southern Comparative Literature Association.
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Abstract

THE COMPAUATIST , OR, IS COMPARATIVE TO LITERATURE AS CULTURAL IS TO STUDIES? Elaine Martin In April 1995 I had the good fortune to view a unique exhibition at the Van Gogh Museum in Amsterdam entitled "In Perfect Harmony: Picture and Frame 1850-1920." Suggesting the wider implications of the topic, Ronald de Leeuw and Klaus Albrecht Schröder have written that the period represented in this exhibition "was an epoch in which the various and fascinating aesthetic possibilities embodied in this link between the fiction of the painting and the reality of the wall were explored. "In Perfect Harmony" is an exhibition not only of tangible objects, but also of immaterial relations--that between picture and frame, which is in fact more than the sum of its parts" (Mendgen 7). It would be difficult to have experienced this exhibition, I think, without having one's way of looking at pictures changed forever. But one is also led to ponder the relationship between "the fiction" of all creative works and "the reality" of the culture in which they are both created and consumed. This unique visual experience--dare I say epiphany?--at the Van Gogh Museum led me to consider quite specifically the relationship

Journal

The Comparatist – University of North Carolina Press

Published: Oct 3, 1996

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