Influence in Art and Literature

Influence in Art and Literature

GÖRAN HERMERÉN
Copyright Date: 1975
Pages: 363
https://www.jstor.org/stable/j.ctt13x0ws1
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    Influence in Art and Literature
    Book Description:

    This is a systematic study of the conceptual framework used by critics and scholars in their discussions of influence in art and literature. Göran Hermerén explores the key questions raised in scholarly debate on the topic: What is meant by "influence"? What methods can be used to settle disagreements about influence? What reasons could be used to support or reject statements about artistic and literary influence?

    The book is based on descriptive analyses in which the author has tried to make explicit what is said or implied in a number of quotations from scholarly writings on art and literature. Throughout, the emphasis is on clarifying the assumptions on which the use of the concept of influence is based, thus describing the limitations and merits of this kind of comparative research for critics and scholars.

    Originally published in 1975.

    ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    eISBN: 978-1-4008-6945-9
    Subjects: Art & Art History, Psychology

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. List of Illustrations
    (pp. ix-xii)
  4. Preface
    (pp. xiii-xvi)
    Göran Hermerén
  5. Abbreviations
    (pp. xvii-2)
  6. 1. Problems and Distinctions
    (pp. 3-155)

    Works of art are not produced in a vacuum; every work of art is surrounded by what might be called its artistic field, and this field includes buyers, sellers, critics, artistic traditions, literary movements, current philosophical ideas, political and social structures, and many other things. All these factors may influence the creation of works of art. It is sometimes argued against much of the research done in art history and in the study of literature that when scholars discuss problems of influence, they consider only a very small sector of what I have called the artistic field.

    This is no...

  7. 2. Conditions for Influence
    (pp. 156-262)

    In this chapter I shall make an attempt to indicate and clarify the conditions that have to be satisfied, if a hypothesis about artistic influence in the narrow or wide sense is to be regarded as true or at least well corroborated. Thus, the point of departure for the discussion in the present chapter will be a sentence like “IfXinfluencedYwith respect toa, thenp”; and the objective of the investigation is to replacepin this sentence with specific and fairly precise statements.

    To clarify the status of the results in this chapter, I must...

  8. 3. Measurement of Influence
    (pp. 263-302)

    In the first chapter of this book I tried to analyze the meaning of statements saying or implying that one work of art was influenced by another. Here the concept of artistic and literary influence was the focus of interest, and I made an attempt to distinguish between different kinds of artistic and literary interest. In the second chapter I discussed the different kinds of reasons that are used by writers on the history of art and literature to support or refute such statements about influence.

    As the examples in these two chapters have shown, scholars and critics sometimes discuss...

  9. 4. Consequences and Conclusions
    (pp. 303-322)

    Like Haskell Block, at least in his earlier paper on this subject,¹ Clauclio Guillén seems to think that studies of influences are “indispensable to the understanding of literature itself.”² Guillén calls attention to the differences between influence and “recurrent techniques and conventions, or of noninfluential echoes and parallelisms.”³ And he adds: “what is needed today, … is not just an empirical, haphazard approach to these differences, but a series of concepts and terms which will account for them.”¹ To achieve this has been part of my objective.

    This book is divided into three main parts. In the first chapter I...

  10. Bibliography
    (pp. 323-336)
  11. Index
    (pp. 337-346)
  12. Back Matter
    (pp. 347-347)